DECORATIVE AND FANCY 
 
 TEXTILE FABRICS 
 
 PUBLISHED AT THE OFFICES OF THE 
 OIL AND COLOURMAN'S JOURNAL . 
 
DECORATIVE AND FANCY 
 
 TEXTILE FABRICS 
 
 WITH DESIGNS AND ILLUSTEATIONS 
 
 BY 
 
 Li. T..LORD 
 
 LONDON 
 
 SCOTT, GEEENWOOD & SON 
 8 BROADWAY, LUDGATE HILL, E.G. 
 
 CANADA: THE COPP CLARK CO., LTD., TORONTO 
 UNITED states: D. VAN NOSTRAND CO., NEW YORK 
 
 1898 
 
 {All rights remain with Scott, GreeiiinnKt d~ 
 
CONTENTS. 
 
 CHAPTER VAOS 
 
 I. A Few Hints on Designing Ornamental Textile 
 
 Fabrics 1 
 
 II. A Few Hints on Designing Ornamental Textile 
 
 Fslbrics (continued) H 
 
 III. A Few Hints on Designing Ornamental Textile 
 
 Fabrics {continued) ... ... 20 
 
 IV. A Few Hints on Designing Ornamental Textile 
 
 Fabrics {continued) ... 30 
 
 V. Hints for Euled-paper Draughtsmen 40 
 
 VI. The Jacquard Machine 50 
 
 VII. Brussels and Wilton Carpets 63 
 
 VIII. Tapestry Carpets 77 
 
 IX. Ingrain Carpets 89 
 
 X. Axminster Carpets 99 
 
 XI. Damask and Tapestry Fabrics Ill 
 
 XII. Scarf Silks and Ribbons 127 
 
 XIII. Silk Handkerchiefs 143 
 
 XIV. Dress Fabrics 1^9 
 
 XV. Mantle Cloths 166 
 
 XVI. Figured Plush 178 
 
 XVII. Bed Quilts 187 
 
 XVIII. Calico Printing 198 
 
 19i65 
 
CHAPTER I. 
 
 A FEW HINTS ON DESIGNING ORNAMENTAL TEXTILE 
 
 FABRICS. 
 
 It is a matter of surprise that there are hundreds of designers 
 whose work Hes entirely in the construction of patterns for 
 certain classes of woollen, worsted, cotton, linen, silk and 
 other materials, who, when asked to depart from their regu- 
 lar routine and launch forth into ornamental designing, of 
 however simple a character, are entirely at a loss how to 
 proceed. This has been forcibly brought before our notice 
 time after time by manufacturers, who, desiring to introduce 
 innovations into their trade, have applied to us for orna- 
 mental designs, that their own designers might work out on 
 point paper ready for weaving. The designers at such es- 
 tablishments had not, previously, been required to extend 
 beyond a few shafts in the composition of patterns, because 
 the cloths made were mostly of a stereotyped class, viz. : 
 corkscrews, diagonals, checks and similar effects, and, as 
 every one knows, the scope is limited and the requirements 
 of the fabrics such that ornamental designs are not desir- 
 able, but in many cases positively objectionable. Therefore 
 designers of these materials have prosecuted their studies so 
 far and no further, and, having perfected themselves in one 
 particular line, have had no thought for the future. 
 
 FREEHAND DRAWING NECESSARY. 
 
 Changes often occur which have the effect of inducing 
 
 producers of fabrics to enter into styles of manufacture new to 
 
 1 
 
2 
 
 DECOEATIVE AND FANCY TEXTILE FABEICS. 
 
 them, in order to keep trade together. Thus, an employer, 
 who for a generation has been engaged entirely in the pro- 
 duction of gentlemen's cloths, may suddenly decide to cater 
 for the ladies or for other branches, where ornamental patterns 
 are required. The designer finds himself nonplussed, because, 
 being wanting in the knowledge required for constructing an 
 ornamental pattern, he may also be entirely deficient in the 
 first requirement, namely drawing. This seems somewhat 
 incredible, but we have personally met with designers who 
 were unable to draw a simple scroll or flower. In such a 
 case, what results ? The manufacturer must either procure 
 
 Fig. 1. 
 
 outside aid or look out for another man whose abilities He in 
 the direction specified. It is therefore necessary that every 
 designer, no matter in what particular line he may be, should 
 be proficient in the first of all requirements, viz. drawing. 
 When this has been attained, practice in the technical details 
 of ornamental pattern construction is required, and much 
 may be done in one's spare time. 
 
 Professors at technical schools will bear out the state- 
 ment that the student who comes out at the head of his 
 fellows at the end of each session is the one who has given 
 attention to ornamental designing, providing, of course, that 
 his other knowledge is up to the requisite standard. 
 
HINTS ON DESIGNING OENAMENTAL TEXTILE FABRICS. 3 
 SUGGESTIONS FOR DESIGNS. 
 
 There are many experienced designers who possess abun- 
 dant stores of material — illustrated art works, scraps of fabrics, 
 wall papers, Christmas cards, and such like helps of artistic 
 merit which have been gathered together at various times. 
 These are intended to assist the imagination, the fertility of 
 which is often a matter of surprise to the outsider. There 
 
 Fig. 2. 
 
 is no doubt such things are a great help to some designers. 
 There are others who look to nature for much of their " ma- 
 terial " in forming patterns, whose spare time is spent in the 
 fields, the woods, or in gardens — studying trees, flowers, foliage, 
 birds, insect life, light and shade, etc., etc., and who seldom 
 or never depend on artificial aids in their work. Then again, 
 others utilise art and nature — sometimes one, sometimes 
 another, and sometimes a combination of the two aids. 
 
4 
 
 DECORATIVE AND FANCY TEXTILE FABRICS. 
 
 There are others who refer to nothing visible, but will com- 
 mence with a blank sheet of paper before them and, with 
 great rapidity, will sketch object after object until a complete 
 design is the result. This ability and power of imagination, 
 however, are not attained readily, but are the result of much 
 study, practice and natural aptitude. The " easy way " for 
 a beginner is to look about and notice what objects surround 
 him from which he may take a suggestion upon which to 
 build up his design. It is remarkable how easily such sug- 
 gestions occur to one. Anything of an ornamental nature. 
 
 Fig. 3. 
 
 however simple, is of sufficient importance to be noticeable. 
 As an instance, we take one's home. There are curtains, 
 carpets, table covers, wall papers, the picture frames upon 
 the walls, the plants or flowers in the garden, the carving 
 upon the furniture. These are all suggestive, and from a 
 scrap of any of them the student may find a " motif," and, 
 when once his pattern is in progress, he will probably be 
 surprised to see how little resemblance it possesses to that 
 which gave him his idea. There are no end of everyday 
 objects which will strike the observant mind as of use. The 
 windows of shops are a fruitful source of suggestion to some 
 
HINTS ON DESIGNING OENAMENTAL TEXTILE FABEICS. 5 
 
 •designers, whilst a mind ever on the alert will find, even in 
 the streets, that ideas strike him as he walks along. A lady's 
 •dress or mantle, the ornamental carving upon a building, and 
 the thousand and one things which one meets with are all 
 ;sources of inspiration. 
 
 CORRECT STYLES OF ORNAMENT. 
 
 A designer will usually possess one or two good illustrated 
 books of designs, which will serve to educate him in the 
 
 Fig. 4. 
 
 various periods or styles of ornament, as also in the correct 
 effects of colour incidental to the respective periods or styles. 
 In these works, the primitive, the Persian, the Indian, the 
 Egyptian and the various other styles are profusely illus- 
 trated, and although in most branches of what we may term 
 " commercial " designing not much attention is paid to " cor- 
 rect style " or "period," it is necessary for a student to be 
 well up in such matters, as they tend to educate and enlarge 
 the mind, and ideas occur more freely, and finally he does not 
 
6 DECORATIVE AND FANCY TEXTILE FABRICS. 
 
 know how soon a call may be made upon him for any distinct 
 style. There are many works published, the one known as 
 L' Ornament Polychrome being amongst the most useful. This 
 work contains an immense number of beautifully coloured 
 designs, which will be found an education to students. 
 
 A SUGGESTION CARRIED OUT. 
 
 I have spoken upon the ease with which a designer may 
 receive suggestions, and it may be interesting and instructive 
 to give an illustration of the manner in which a simple sug- 
 gestion may be carried to a complete design. Fig. 1 shows 
 a simple spray of lilac, which we may have noticed upon a 
 Christmas card, or as an illustration in a book, or in its 
 natural form in the garden. To construct a design from this 
 is an easy matter to the experienced hand, but to a young 
 student it is not so easy. Ifl Fig. 2 a design is constructed 
 from the lilac. Of course, it is not necessary to hold fast to 
 the one particular flower. It is only the "motif" — other 
 flowers may be introduced as desired to relieve what might 
 otherwise be a monotonous pattern. . The example is given 
 simply to illustrate how a design may be drawn from any 
 given object. Having dealt (with the suggestive aspect of 
 designing, I will pass on to the practical construction of 
 patterns, giving a few particulars and illustrations of the 
 readiest methods of sketching designs. 
 
 AN ELEMENTARY DESIGN. 
 
 In the designing of a pattern, the first point to be taken 
 into account is the size^it must assume when woven. The 
 design must be drawn to that particular size. Before pro- 
 ceeding further, I may say that those which repeat across or 
 straight over form the simplest style of designing, and there- 
 fore samples of such are given. Take in the first place an 
 elementary pattern, and suppose the width of the woven 
 repeat to be two inches and the length of the repeat the same. 
 
HINTS ON DESIGNING OENAMENTAL TEXTILE FABRICS. 7 
 
 The boundary lines must, of course, first be drawn in pencil. 
 These are represented by dotted lines, which form a square. 
 In the centre of these construct the pattern as shown in Fig. 
 3. This will repeat upwards and onwards at intervals of two 
 inches, and the same will be the result wherever the position 
 of the figure is within the boundary lines. Another method 
 is given in Fig. 4, which will show clearly the repetition of 
 the pattern. In this case the ornament is drawn in one corner 
 
 Pig. 5. 
 
 and repeated at the other three. It is not necessary to make 
 any further remark beyond stating the fact that on the ruled 
 or point paper a different quarter only of the ornament must 
 appear, which will be found to join and repeat accurately when 
 woven. 
 
 A MORE ELABORATE EXAMPLE. 
 
 Having given an elementary example, I will now come to 
 one of a more difficult character, and here again I will take a 
 
8 
 
 DECORATIVE AND FANCY TEXTILE FABRICS. 
 
 small repeat, simply as an illustration, as the actual size of a 
 pattern of this character would be much larger, in order to 
 look effective, even in fine counts of yarn. The size of a 
 repeat depends upon the requirements of the fabric for which 
 it is intended, and of course varies for different classes of 
 cloths. The method is the same no matter what the size of 
 the design may be. The boundary lines having been indi- 
 cated, commence drawing the chief object — a flower or figure 
 
 
 2 
 
 3 
 
 A 
 
 E 
 
 
 B 
 
 
 
 
 4 
 
 
 1 
 
 G 
 
 J 
 
 
 H 
 
 
 C 
 
 F 
 
 D 
 
 Fig. 6. 
 
 — as shown in Fig. 5. And here it is necessary to remember 
 that the pattern must be repeated, and that as much as 
 possible without producing a liney or stripey effect, conse- 
 quent upon certain patches of the groundwork or prominent 
 portions of the figure successively catching the eye in an 
 upward, onward or diagonal direction. This is an error 
 easily made, and should therefore be strictly guarded against. 
 Having drawn a certain part of the pattern, the next step is 
 
HINTS ON DESIGNING OBNAMENTAL TEXTILE FABEICS. 9 
 
 to place it in its proper position, in order to secure the repeat, 
 s.nd this, in the case of a straight-over design, requires that 
 the ornamentation shall join at each side and at the top and 
 hottom of the boundary lines. To accomplish this, the part 
 already drawn must be traced. Lines E F and G H must 
 be drawn. They will serve as dividing lines, showing the 
 parts to be transferred to their respective positions, in order 
 that the design may be completed. 
 
 Fig. 7. 
 
 An experienced designer will do this with the least pos- 
 sible amount of trouble, as experience suggests, but, for the 
 novice, it will be the easiest way to construct a square of the 
 •same dimensions as A B C D in Fig. 5, a right angle of 
 which is already shown at E J H in the same figure. 
 Having done this, continue the lines E B and H B as 
 shown in Fig. 6. The portion of the pattern within the 
 square 4 (Fig. 5) will not require transferring, but those 
 
10 
 
 DECORATIVE AND FANCY TEXTILE FABRICS. 
 
 parts within the squares 1, 2 and 3 must be transferred to 
 the squares marked 1, 2 and 3 in Fig. 6. By referring to 
 Fig. 7, it will be easily seen how this may be done and 
 with what result. It will be noticed that an irregular space 
 remains, which requires filling. The continuation of the 
 pattern has been made as indicated by the dotted lines in 
 Fig. 7. Now trace the remainder in the squares 2, 3, 1, and 
 transfer to their proper positions at 1, 2, 3 (Fig. 5), and a 
 complete design will result, as shown in Fig. 8. It may be 
 asked, why not complete the pattern as shown in Fig. 7 ? 
 
 Fig. 8. 
 
 This may, of course, be done if preferred, but in Fig. 8 the 
 main feature is clearly shown, whilst in the preceding figure- 
 it is divided. As a working pattern sufficient is shown, but 
 the designer may complete a square of Fig. 6, filling in his; 
 pattern, when from the larger area covered a better idea of 
 its effect may be obtained. 
 
 All this is understood and is extremely simple to those 
 who have any knowledge at all of designing figured effects^ 
 but there are many who have not this knowledge, and there- 
 fore these hints are given for their benefit. 
 
CHAPTER II. 
 
 A FEW HINTS ON DESIGNING ORNAMENTAL TEXTILE 
 FABRICS (continued). 
 
 Reverse or turn-over designs are employed for certain 
 classes of fabrics, the ornament of which is reversed or 
 turned over, instead of being repeated straight across. If 
 the student examines, say, a few pieces of silk damask, he 
 will find this style of pattern much used, because the effect 
 produced is that of a wider repeat than would be possible 
 under other conditions. Of course, a particular tie-up or 
 building of the Jacquard harness is required, but this is also 
 the case with other designs, and the harness is good for any 
 pattern of the same class and size as long as it bears the 
 wear and tear. It is owing to the particular mode of tying 
 up that the effect of a broader repeat is obtained. Suppos- 
 ing, by way of example, a fabric is taken the repeat of 
 which is 12 inches. Begin by drawing the pattern in such 
 a manner that the ornament will reverse or turn over at 
 A B and at C D (Fig. 9) , whilst it will repeat from B D to 
 A C, as in any ordinary pattern. Thus the design has the 
 appearance, not of a 12-inch, but of a 24-inch repeat, the 
 harness being tied up so that a warp thread at A and E and 
 two at C may be actuated at one and the same time re- 
 spectively. By reference to the complete design shown in 
 Fig. 10, it will be seen how the ornament reverses at A B 
 and at C D, and also how the pattern joins or repeats from 
 B D to A C, as explained at Fig. 9. It will, therefore, be 
 understood that for some fabrics these patterns possess a 
 
12 
 
 DECOEATIVE AND FANCY TEXTILE FABEICS. 
 
 great advantage over the ordinary styles. Silk damask has 
 'been mentioned as a case in point, but this is only one of 
 the many kinds of textiles in which the adoption of this 
 mode of arranging patterns proves advantageous. Suppose 
 a dado curtain is drawn, the border, body and dado pattern 
 may be taken and constructed, each one on the same lines, 
 the body and dado reversing over and over, and the border 
 reversing once from the centre. In such a case, the ruled 
 or point paper pattern shows only half the full design, the 
 reverse portion of border, body and dado not being required. 
 A c E 
 
 B 12 inches. D 12 inches. F 
 
 Fig. 9. 
 
 The effect produced on the curtain, as well as on all other 
 fabrics treated in the same manner, is most satisfactory in 
 comparison with the cost. 
 
 DROP PATTERNS. 
 
 The student, having mastered the few points required 
 to be considered in the formation of patterns which repeat 
 across or straight over, and in those which reverse or turn 
 over, should next direct his attention to what is termed 
 drop patterns. This class of design is much oftener used 
 than the style first described, as the general effect gained is 
 
HINTS ON DESIGNING- OENAMENTAL TEXTILE FABEICS. 13 
 
 more pleasing. By noticing a piece of fabric hanging upon 
 a wall, or a cover upon a table, it will be seen that the main 
 feature of a straight-over pattern forms the four corners of 
 a square, but, supposing the same fabric is ornamented with 
 a drop pattern, the main feature will form the four corners 
 of a diamond ; then by comparing the two fabrics the 
 student cannot fail to be impressed with the fact that the 
 
 Fig. 10. 
 
 latter has much the better appearance, the square forma- 
 tion looking set and formal. Given the required width, then 
 the length of pattern to be designed must be decided. No 
 matter what the length may be, the principle is the same. 
 First draw the boundary lines and divide the space into 
 four equal portions, as shown in Fig. 11. In drawing the 
 pattern, whatever ornament appears in section A must be 
 transferred to that marked B, and also that within section 
 
14 
 
 DECOEATIVE AND FANCY TEXTILE FABEICS. 
 
 C must be transferred to that marked D. Thus this result 
 is arrived at — the pattern is the same in A and B and in 
 C and D, and, finally, the two sides and the top and bottom 
 of the design join accurately. Fig. 12 forms a complete 
 illustration of a drop pattern — the dropping from A to B 
 and from C to D being clearly noticeable. The method of 
 drawing is very simple. The student may sketch away 
 anywhere within his boundary lines, and the result will be 
 the same. There will be certain portions to be traced into 
 positions as above described. In Fig. 12 the principal 
 
 A 
 
 C 
 
 D 
 
 B 
 
 Fig. 11. 
 
 feature of the design is shown in the centre. If this is traced 
 in the corners, there remains an irregular portion around 
 the central feature which requires filling. The two portions 
 of ornament within section A may now be joined by the 
 introduction of connecting ornament. The same may be 
 done within the section C. These last instalments must be 
 traced in proper positions in B and D. There are now 
 blank spaces at the terminations of the centre or dividing 
 lines. If the pattern was cut across the centre and joined, 
 the top to the bottom, the space which requires filling would 
 be clearly shown. But a better method is to leave the 
 
HINTS ON DESIGNING OENAMENTAL TEXTILE FABEICS. 15 
 
 •design intact, simply tracing sufficient of the bottom portion 
 of the design and transferring it to the top, to show the 
 space still to be filled. Having completed the final portion, 
 transfer to the proper position, and the whole design re- 
 sults. 
 
 Fig. 12. 
 
 A FURTHER EXAMPLE OF THE DROP PATTERN. 
 
 Having already alluded to the ordinary drop pattern, 
 illustrations are given in Figs. 13 and 14 of a method of 
 utilising this type, which is in use for certain classes of 
 fabrics, and particularly for carpets, cretonnes, etc. In order 
 the more easily to describe this mode, suppose a Brussels 
 carpet is being designed, the full width of the fabric being 
 27 inches. It is quite a common practice to weave a carpet, 
 the width repeat of which is double that, or 54 inches. 
 
16 DECOEATIVE AND FANCY TEXTILE FABRICS. 
 
 Now, as ordinary Brussels carpet has one standard width, 
 viz., 27 inches, it is obvious that to obtain a pattern of 54 
 inches in width, two separate widths of carpet must be used. 
 To accomphsh this the drop pattern is utiHsed, the length 
 of which is generally equal to its width, i.e., one and a half 
 yards, but not necessarily so. The example given in Fig. 14 
 would be 27 inches long, which will answer every purpose 
 for illustrating our remarks. In Fig. 13 A A represents the 
 full width of the fabric, and A B the length. Rule the paper 
 with the usual boundary lines, A A, B B. Next, draw one 
 
 B B 
 
 c 
 
 D 1 
 
 D 
 
 C 1 
 
 A A 
 
 Fig. 13. 
 
 dividing line, as shown in this figure. More space will be 
 required around the boundary lines than actually to fill, 
 because each portion must be transferred to its proper posi- 
 tion in order to complete the whole design. Thus it will 
 be well to rule sections corresponding with D 1 and C 1, 
 and sections similar to C and D 1, the base of the latter of 
 which would be B B. In the actual drawing, the method 
 of procedure is much the same as in the case of the drop 
 pattern described in Figs. 11 and 12. In fact one half this 
 pattern, taken lengthways, marked A D in Fig. 11, will 
 furnish a full design for the purpose under notice, but the 
 
HINTS ON DESIGNING ORNAMENTAL TEXTILE FABRICS. 17 
 
 length will be double the width, viz., one and a half yards, the 
 width being three-quarters of a yard. The student is re- 
 ferred to the remarks describing Fig. 11, the instructions for 
 constructing the pattern being similar to those given there. 
 The diagrams Figs. 13 and 14 both show how the two 
 widths of cloth join. That portion of ornament in section 
 C comes again in C 1, and that in D repeats in D 1. The 
 pattern joins top and bottom, from A to B, three-quarters of 
 
 Pig. 14. 
 
 a yard, and across in one and a half yards. Thus in carpets, 
 in plush and in cretonne goods for hangings, etc., we are 
 enabled to obtain designs which, for general conception and 
 boldness of treatment, would be impossible, except under 
 more expensive conditions. 
 
 REVERSE DROP PATTERNS. 
 
 Eeference has been made above to the method of compos- 
 ing drop patterns ; there are, however, varieties of this class 
 
 2 
 
18 DECORATIVE AND FANCY TEXTILE FABRICS. 
 
 of design, a very effective one being that in which the orna- 
 ment drops and reverses at the same time. A skilful 
 draughtsman will compose designs of this class which will 
 somewhat bewilder the inexperienced observer, who may 
 attempt to find the repetition of the ornament. The differ- 
 ence between this and the drop pattern, Fig. 12, already de- 
 scribed, is trifling, being nothing more nor less than turning 
 
 Fig. 15. 
 
 the ornament completely round in dropping it into position. 
 However, the student will probably find himself puzzled at 
 times in doing this, but, after a little practice, the seeming 
 intricacies of the style will disappear and he will have no 
 more trouble in drawing one of these than he has in any of 
 the other patterns. An illustration is given in Fig. 15. To 
 briefly explain the points to be observed in drawing one of 
 these designs, first rule the paper exactly as for the ordinary 
 drop pattern, noted in Fig. 11 ; then sketch in a portion of 
 
HINTS ON DESIGNING OENAMENTAL TEXTILE FABRICS. 19 
 
 the ornament, as in former cases. This now requires re- 
 peating in proper position ; tliat portion in section A will 
 come in section B, reversed, and that in section C will come 
 in section D, also reversed. But what about the reversing of 
 the ornament? This is easily accomplished. Trace the 
 portion already sketched, and rule other lines upon the trac- 
 ing paper, exactly as shown in Fig. 11, that is to say, trace 
 the objects and the lines also. If the tracing is turned over 
 a reverse of the ornament is shown through the tracing paper. 
 Now take this, still face downwards, and place it upon the 
 sketch, but let the lines surrounding section A in Fig. 11 
 come exactly over those surrounding section B on the sketch ; 
 then, by going over the tracing with a pencil, or rubbing 
 carefully down with a paper knife, or such article, a reverse 
 repetition of a portion of the ornament in proper position is 
 got. Then portions in section B will require transferring to 
 A, and so also from C to D, and from D to C, always turning 
 the tracing face downwards, in order to reverse the orna- 
 ment, until the design is completed, as in Fig. 15, which will 
 now join straight at each side and at the top and bottom. 
 In designing this type of pattern, much care is required in 
 preventing a striped or lined appearance, because it will be 
 found that certain figures or flowers in dropping and revers- 
 ing come under each other. Now if there was a prominent 
 spray of leaves tending upwards, say, somewhere near the 
 centre dividing line, the same spray would appear under- 
 neath, the distance between the two being governed by the 
 length of the whole design. Such a feature would at once 
 be striking, and would, in the woven fabric, have a tendency 
 to form an upward line throughout the piece. It is, there- 
 fore, particularly necessary to avoid anything which may 
 tend to produce a lined or striped appearance. This applies 
 to any design, but, in the present case, the caution cannot 
 be too strongly impressed upon the student. 
 
CHAPTER III. 
 
 A FEW HINTS ON DESIGNING ORNAMENTAL TEXTILE 
 FABEICS {continued). 
 
 DIAPER PATTERNS. 
 
 Paeticulars and illustrations of the various methods of 
 constructing patterns for piece goods have been given. 
 Designs for this purpose are usually known as body patterns, 
 and of whatever class these piece goods may be, the instruc- 
 tions already given may be followed in all cases. Before 
 concluding other remarks upon this part of the subject, 
 some reference must be made to small repeating or " diaper " 
 designs. Prom the simpHcity of their construction, it may 
 be considered that they should have been dealt with at the 
 commencement of these pages, but they are not as largely 
 used, on account of their set and formal appearance, as are 
 those which take in a wider and a more varied range of orna- 
 mentation, such as the examples previously given. For 
 table covers and such-like fabrics they are serviceable, and, 
 as these are treated of later, the "diaper" patterns are in- 
 troduced here. 
 
 Two illustrations. Figs. 16 and 17, are given. To 
 draw these, and repeat for the full designs, construct a 
 square and divide it into four equal parts, as in some of the 
 examples already given. For Fig. 16, each of these four parts 
 must be subdivided by Hues running from corner to corner. 
 Thus the square is cut into sixteen triangular divisions. Now 
 sketch in one of these triangles some objects that will lend 
 themselves readily to repetition. Taking Fig. 16 as an 
 
HINTS ON DESIGNING ORNAMENTAL TEXTILE FABRICS. 21 
 
 example, the objects given within one triangular division 
 reverse or turn over sixteen times within the square. The 
 second example, Fig. 17, differs from Fig. 16, by reason of 
 its repeating or turning over only eight times within the 
 larger square, the four smaller squares being subdivided 
 once only, instead of twice, as in the former case. Now 
 sketch an ornament in one subdivision. This will then 
 reverse eight times, and the complete pattern will result. 
 There are varieties of these patterns, but as they are the 
 easiest form of ornamental designing, their further considera- 
 tion may be left as variations will readily suggest themselves 
 
 Fig. 16. 
 
 Fig. 17. 
 
 by practice. Fig. 16 is utilised in treating upon bordered 
 fabrics, such as table covers, carpets, etc., so that an illustra- 
 tion of the full pattern may be noticed. 
 
 DESIGNS FOR BORDERS. 
 
 The construction of border designs is a somewhat easy 
 matter to those who have mastered the general principles 
 governing the construction of ordinary body or piece goods 
 patterns, but there are points to be observed which it will 
 be well to mention here. These may be briefly enumerated. 
 First, a border should usually consist of two or more bands 
 — a narrow one and a. wide one, or, as in the example given 
 
22 DECOEATIVE AND FANCY TEXTILE FABRICS. 
 
 in Fig. 18, one wide and two narrow bands. The wider 
 band may be considered as the border proper, the first 
 narrow band servinor to divide or form a distinct cut-off 
 from whatever ornament the border may be placed against. 
 The narrow band or bands should be either plain or formed 
 of some pleasing object, frequently repeated. Commence 
 with a plain line or lines, then form a band of balls, rings or 
 scrolls, or other small objects, and finish off with another 
 plain hne ; or a plain line succeeded by a repeated scroll 
 running into the broad band or border proper will be satis- 
 
 FiG. 18. 
 
 factory — anything, in fact, which serves as a distinct divid- 
 ing line may be utihsed with good results. Next, the broad 
 band or principal feature of the border must be constructed, 
 and, for table covers, carpets and such-like fabrics, and for 
 almost all such goods, a bolder treatment than that em- 
 ployed in the body pattern gives the best effect. Another 
 narrow band may now be added— sometimes it is better to 
 draw this a little wider than the first one — then finish off 
 with a plain band, often called the heel, or have a repeated 
 figure running down upon this plain band, but whichever is 
 chosen it greatly adds to the appearance of the whole design. 
 
HINTS ON DESIGNING ORNAMENTAL TEXTILE FABRICS. 23 
 
 The plain band or heel should usually be in the darkest 
 colour used. Borders are also constructed consisting of, 
 first, a narrow ornamental band or of even a simple dividing 
 hne, after which comes a broad band of ornament, drawn in 
 such a manner as to produce a finished effect, by the simple 
 addition of a half-inch or an inch of plain ground as a 
 termination. Given the depth of the border, the wide 
 and narrow bands should be drawn in such a manner that 
 their relative proportions may have a pleasing effect to the 
 eye, and that no top heaviness may be observable. The 
 width of the border being decided upon, it is necessary to 
 see that the pattern repeats within the given width. Fig. 18 
 forms a good illustration of these remarks. 
 
 There are various fabrics, too numerous to mention, 
 which are not complete without the finish which a border 
 gives to them, and I would therefore impress upon the 
 student the desirabihty of paying some attention to their 
 construction, for even though he may be employed in some 
 branch where such modes of ornamentation have not hither- 
 to been required, he never knows how soon a special call 
 may be made upon him. Not long ago, fashion decreed the 
 adoption of borders and panels {i.e., very deep borders) for 
 dress goods. How many designers, whose knowledge of 
 ornamental designing consisted only in their ability to con- 
 struct a simple sprig or other similar figure, found themselves 
 nonplussed, it would be hard to tell. 
 
 STRIPED FABRICS. 
 
 ■ In treating upon borders, a few remarks may be intro- 
 duced upon the designing of striped fabrics — an important 
 variety, including, as they do, dress goods of cotton, wool, 
 silk, plush, wool and silk damask, tapestry and cotton hang- 
 ings, mantle cloths, etc. There is such a varied scope in 
 the drawing of these patterns that to give an example suitable 
 
24 DECORATIVE AND FANCY TEXTILE FABRICS. 
 
 for each of the above-named fabrics would take up too much 
 space. A striped fabric, broadly speaking, consists in the 
 repetition of a border, or borders, in a horizontal, vertical or 
 diagonal direction, suitably divided by more or less plain 
 ground, according to the nature of the fabric, or the exigen- 
 cies of any particular case. A dress material may have a 
 one-inch border effect to three inches of plain ground, whilst 
 a tapestry fabric may have five inches of border to one of 
 plain ground. In the former case, unless the plain was 
 very greatly in excess of the ornamental effect, a most 
 wretched fabric would result, whilst in the latter, if the plain 
 ground was not sparingly used, a good appearance could not 
 be produced. It may be generally regarded as a rule that, 
 in all fabrics for wearing apparel, the ornamentation by 
 striped effects should not be unduly crowded or pronounced, 
 whilst, in those for hangings or similar purposes, ornamenta- 
 tion by stripes may be used to an unhmited extent. Now 
 whether for a horizontal or vertical striped hanging, a good 
 design may be produced from the border. Fig. 18, taking 
 the design as it stands, and repeating top and bottom, a 
 small portion of plain colour being given at the bottom, 
 which will serve as a connection. Or a variation would be 
 made by following the plain colour by a single line, and this 
 line with the same width of plain ground as there appears 
 above it, and then repeating the ornamental border ; or there 
 might be plain, then a Hne of colour; a line of ground, 
 another of colour, and plain again, followed by repeating the 
 ornamental border. A better effect, where the depth of 
 the repeat would admit of it, could be gained as follows : 
 Take the border as it stands, with the plain at the bottom ; 
 follow with a single hne of colour; then plain, half the 
 width of that above the single Hne; follow with an orna- 
 mental border, half the width of the first one ; then a narrow 
 band of plain ; a Hne of colour, and then another narrower 
 
HINTS ON DESIGNING OENAMENTAL TEXTILE FABRICS. 25 
 
 band of plain, and repeat the broad ornamental border. 
 Taking Fig. 18 as the example, this would produce a hori- 
 zontally striped fabric, and it does not require a great stretch 
 of imagination to turn the same design on end, the orna- 
 ment tending upwards, when an equally good vertically 
 striped pattern would result. These remarks upon striped 
 fabrics are amply sufficient for all purposes. 
 
 BORDERED FABRICS. 
 
 Having dealt with body, or all-over patterns, and given 
 some information upon border designs, it is now necessary 
 
 BORDER. 
 
 BODY. 
 
 \ 
 
 B A 
 
 BORDER. 
 B A 
 
 Pig. 19. 
 
 to deal with bordered fabrics. These comprise carpets, table 
 covers, rugs, counterpanes, dress materials, etc. Very Httle 
 information is needed, besides that already given, to enable 
 the student to draw patterns for any of these fabrics, as the 
 construction of the borders has only to be dealt with, and but 
 few remarks are required to supplement those already made 
 on borders given above. Having followed these instructions^ 
 it may be assumed that the student is able to construct a 
 border design. Now in applying this to a body pattern, he 
 will require to draw a corner piece, and, in order to thoroughly 
 explain the usual methods employed, a diagram — Fig. 19— is 
 
26 DECORATIVE AND FANCY TEXTILE FABRICS. 
 
 given as the easiest way of illustrating these remarks. As- 
 suming that the width of the border is equal to that of the 
 body, construct a square of the exact dimensions required for 
 the complete design. Divide this into four equal parts, and 
 the result is one section for the body, and three for the 
 border, that is to say, the body will have a border on two 
 sides, with a corner connecting the two borders. It may be 
 taken for granted that there are three ways of completing the 
 border. The first is to draw the pattern within the square 
 A A B B, and "here may be remarked that this should al- 
 ways be done in this section, that is, below the body, for this 
 reason — having the body pattern upright before us graceful 
 ornament can be more easily constructed with good effect 
 than when an opposite course is adopted. This seems pecu- 
 liar, but it is, nevertheless, a fact. The old saying that 
 "there is a right way to do everything" was never truer 
 than in the case of designing fabrics. Let the student try 
 for himself, and he will find that, in the wrong way, there is 
 an awkwardness about his efforts, due to the fact that he 
 sees his body pattern from a wrong view : now take the right 
 way, and it is different. He constructs a pattern which, 
 when repeated at the side, will not have any appreciably 
 awkward effect. Having drawn in the border, which must 
 repeat accurately from A A to B B, now repeat it at the side., 
 There is still a square to form the corner. This may be 
 done by running the first narrow band, surrounding the two 
 sides of the body, across the border at each side and letting 
 it join into the second narrow band, thus cutting off the 
 corner. This gives a square, which can be filled in with any 
 ornament to harmonise with the border. But a much better 
 effect is gained by having the two sides and corner of the 
 border continuous, as shown in Fig. 20. 
 
 In this case Fig. 16 has been utilised. By doing so, the 
 complete pattern is shown worked out from the section given 
 
HINTS ON DESIGNING ORNAMENTAL TEXTILE FABRICS. 27 
 
 in this figure, which enables the student to judge of the 
 effect produced by objects often repeated to form a whole 
 design. 
 
 Via 20 forms the second illustration of the methods 
 
 & * 
 
 .adopted for drawing borders. Between this and the third 
 
 Pig. 20. 
 
 method, there is only a sHght difference ; this consists solely 
 in the manner of repeating the border from the bottom to 
 the side. In the present case, it will be noticed that the 
 bottom border has been traced , so that, when transferred to 
 the side, the portion coming at A A shall repeat at D D, and 
 consequently that portion at B B must come at C C. Now 
 
28 DECORATIVE AND FANCY TEXTILE FABRICS. 
 
 to fill in the corner with the same style of ornament is an 
 easy matter, and a continuous border results. 
 
 The third method, Fig. 21, produces a precisely similar 
 effect to the preceding one. The difference in the two is 
 simply this — when we have drawn the bottom border, we 
 
 Fig. 21. 
 
 trace it and, in transferring to the side, turn the tracing paper 
 over, thus reversing the pattern, so that B B will come at 
 D D and A A at C C. Thus a repetition of objects at B B 
 and D D come close together, which is sometimes objection- 
 able, as it tends to produce stiffness. Having drawn in the 
 corner, there is again a continuous border around the body 
 
HINTS ON DESIGNING OENAMENTAL TEXTILE FABEICS. 29 
 
 pattern. Taking everything into consideration, a decided 
 preference may be given to the second method of designing 
 bordered fabrics, as, in this case, there is less liability to 
 stiffness, and consequently a better general effect may be 
 reckoned upon. The examples given are particularly suit- 
 able for table covers, carpets and curtains of all descriptions. 
 
CHAPTER IV. 
 
 A FEW HINTS ON DESIGNING ORNAMENTAL TEXTILE 
 FABRICS {continued). 
 
 CENTRE PATTERNS. 
 
 There is a great variety of bordered fabrics which differ 
 widely in body and border from those already treated upon. 
 Instead of the body being composed of an often-repeated 
 design, it consists solely of a large pattern in the middle, 
 which reverses over and over — four, eight, sixteen or any 
 number of times, in a circular direction, until the complete 
 pattern results. This style is employed very largely for 
 counterpanes of many descriptions, as well as for table 
 covers of worsted and linen damask, printed cotton, etc., also 
 for carpets, hearth rugs, sofa rugs, etc., etc. 
 
 Fig. 22 shows one quarter of a design. This would 
 produce a square counterpane or other fabric. For most 
 purposes, however, an oblong design is required, particularly 
 for counterpanes, hearthrugs, sofa rugs, and, in the majority 
 of cases, for table covers. But the illustration given will 
 answer every purpose in aiding the student to master this 
 style of designing. He must first draw a square or oblong 
 of the size required for his pattern. If it be a square, a 
 diagonal line must be drawn from the bottom left-hand 
 corner to the top right-hand corner. This gives a centre 
 line for the turn over of both body and border. For con- 
 structing the centre, the required space may be divided, by a 
 simple geometrical problem, into as many sections as are 
 
HINTS ON DESIGNING ORNAMENTAL TEXTILE FABRICS. 31 
 
 desired, letting the lines converge to one central point at the 
 top corner. In the case of an oblong design, a diagonal line 
 cannot be drawn from corner to corner, but, by the same 
 geometrical problem, the top right-hand corner may be 
 divided for the reversing of the centre pattern, and so also 
 the bottom left-hand corner, by one diagonal line for the 
 
 Pig. 22. 
 
 reversing of the border. In this figure one quarter of the 
 centre is shown consisting of two sections, or a figure eight 
 times reversed, to complete the whole centre. The border 
 reverses from the bottom to the side ; then both centre and 
 border reverse each way, and so the full pattern is completed, 
 thus producing a square fabric, with a centre pattern and a 
 
32 
 
 DECORATIVE AND FANCY TEXTILE FABRICS. 
 
 "border all round. The oblong pattern is a little more dif- 
 ficult to design. The centre may be constructed exactly as 
 for the square fabric, or it may be greater in length than in 
 width, in order to cover some of the space which would 
 otherwise remain vacant, consequent upon the pattern being 
 oblong instead of square. This may be done by drawing a 
 pattern similar to that shown in Fig. 22, which reverses 
 equally from section to section, and, in order to fill up some 
 of the vacant space, add to the pattern wherever required, 
 by throwing out a piece of scroll work or a few flowers. Or 
 the corner may be filled in with ornament, which will only 
 reverse four times for the whole design. In this case, the 
 space covered may gradually diminish in width, so that, 
 when reversed, an oval formation will be produced. Or 
 another way may be adopted. Suppose the corner is divided 
 into four equal parts — in the top section, sketch in some 
 ornament which would reverse to the next section. Now, 
 instead of reversing it exactly, sketch an enlarged reversal of 
 the ornament. Then treat this second section in the same 
 manner, reversing on to the third section, and the same with 
 the third, reversing on to the fourth section. There is thus 
 a pattern consisting of four reversals of the same ornament, 
 but, on account of each section being enlarged, an oval for- 
 mation in the whole centre is produced. 
 
 In designing the borders, any class may be adopted for 
 most fabrics, either those which have distinct dividing lines, 
 or those which have no such lines, but run into the centre, 
 as shown in Fig. 22. It is generally conceded that the latter 
 class of border is the most effective. For a square fabric, no 
 difficulty occurs, because the bottom border simply reverses 
 to the side, the only other point to be observed being that 
 the full quarter pattern must reverse at the right side and 
 at the top, to complete the whole fabric. A corner should 
 always be drawn, which should run up into the centre. For 
 
HINTS ON DESIGNING ORNAMENTAL TEXTILE FABRICS. 33 
 
 the oblong fabric, the same corner may be adopted, but when 
 the border is reversed from the bottom to the side, there will 
 still be a portion at the top of the side border to be filled in. 
 This may easily be done by drawing a continuation of the 
 same class of ornament. Another way is to trace and reverse 
 as much of the bottom border only as may be desired, con- 
 tinuing the bordering by drawing in fresh ornament until 
 completed, but, in any case, it must reverse at the top. Be- 
 tween the centre figure and the border, there will be a certain 
 amount of plain ground. This may be either left plain or 
 may be filled in with small repeating figures, such as small 
 
 Fig. 23. 
 
 diamonds, sprigs of leaves or flowers, or any diaper effect, not 
 too large to take away from the pleasing appearance of the 
 complete design. 
 
 STAIR CARPETS. 
 
 The remarks upon bordered fabrics would be incomplete 
 without some reference to stair carpets, which consist of 
 Brussels, tapestry, felt and such-like varieties. It will gener- 
 ally be found that where a body pattern is at all suitable, a 
 stair carpet will be made to correspond with it. That is to 
 say, the body pattern will be employed, suitable borders being 
 
 3 
 
34 DECORATIVE AND FANCY TEXTILE FABRICS. 
 
 drawn at each side. But, in many cases, a body pattern may 
 be altogether too bold for such a purpose, but sometimes, in 
 such circumstances, the nature of the design may allow of 
 reduction. That is to say, the whole pattern is reduced pro- 
 portionately, so that the same thing is on a smaller scale. 
 Considering that a carpet is three-quarters of a yard wide, 
 and that the full width is often taken for one repetition of the 
 design, and that stair carpets for ordinary purposes vary from 
 a half to one yard wide, and must include two borders in this 
 width, it will be seen that, in many cases, the reduction of 
 the pattern becomes necessary — particularly as the yard wide 
 
 Fig. 24. 
 
 stair carpets are an exceptional width. But it is often the 
 practice, where the construction of a body pattern will, with 
 good effect, lend itself to this, to copy in full size just as much 
 of the most effective portion of it as may be required to fill 
 in the space between the two borders. There is no repetition 
 of the design in width necessary, and, therefore, this may be 
 easily done, the only thing required being the repetition in 
 length. It may be taken as a rule that large figures do not 
 look well for this purpose. Imagine a staircase carpeted with 
 a very bold design, and then another covered with an effective 
 and neat pattern, and it will not require much judgment to 
 
HINTS ON DESIGNING OENAMENTAL TEXTILE FABEICS. 35 
 
 pronounce upon them. A five-eighths stair carpet is a class 
 commonly in use. Five-eighths, or twenty-two and a half 
 inches, must be divided for the body and two borders. A 
 good proportion is twelve and a half inches for the body and 
 five inches for each border. For other sizes, similar propor- 
 tions may be taken. It will be seen that there is not a great 
 amount of space in which to draw a bold body pattern, even 
 were such desirable. It may, therefore, be taken for granted 
 that neat and effective ornament is best for the purpose. 
 Moreover, the very nature of the use to which such fabrics 
 are put demands that neatness ■ should be considered. Par- 
 ticulars have been given for the construction of border and 
 body patterns, which do not require enlarging upon, and, 
 therefore, the illustration shown in Fig. 23 is sufficient to 
 enable the student to construct a stair carpet pattern of this 
 description without further instruction. 
 
 DESIGNS FOR RUGS. 
 In the designing of rugs, many styles may be adopted. 
 There may be a centre pattern upon a plain or ornamental 
 ground, this being surrounded by one repeated border, such 
 as those shown in the table cover patterns. Figs. 20 and 21, 
 or a centre pattern with a border similar to that shown in 
 Fig. 22. The most effective rug patterns are those in which 
 the ornamentation is most varied. But then, the entire rug 
 pattern must be designed, which gives much scope for variety, 
 both in borders and body. A good body pattern may be 
 composed from trailing figures, such as those shown in Fig. 
 15, and to this might be added side borders both alike, but 
 different end borders. In fact, where the whole rug pattern 
 has to be designed, there is no limit to the scope for the 
 production of effective patterns. A style which finds much 
 favour is that shown in Fig. 24. The body pattern springs 
 from one end ; the side borders are alike ; the two end 
 borders, however, differ from the side, but are very similar 
 
Fig. 25. 
 
HINTS ON DESIGNING OENAMENTAL TEXTILE FABRICS. 37 
 
 one to the other. Of course, this arrangement of borders is 
 not necessary, but is left to the choice of the designer. It 
 will be noticed that this pattern turns over from the centre, 
 therefore one half requires to be designed. 
 
 DADO CURTAINS. 
 
 Curtains embrace many varieties, including tapestry, 
 chenille, wool and silk damask, lace, Madras muslin, plush, 
 printed cotton and musHn, etc. To give examples suitable 
 for each would take up too much space, and therefore one 
 only is given in Fig. 25, which will be effective for tapestry, 
 wool and silk damask, plush and such-like goods. For printed 
 cotton or muslin, this would make a good pattern, although 
 it may be generally accepted as a rule that curtain patterns, 
 without dado, are more successful. For chenille goods, an 
 altogether bolder type of design is necessary, the coarse 
 nature of the yarn not admitting of very finely ornamented 
 patterns. For lace and Madras muslin curtains, dados are 
 not much in favour. In the former case, stripes surrounded 
 by the same border on three sides are effective and much 
 used, whilst, for the latter, all-over patterns, such as those 
 shown in Figs. 15 and 21, with a border on three sides, are 
 in favour. In designing a curtain, the first point to be ob- 
 served is to divide the given size into the necessary propor- 
 tions for the body, border and dado, and a good division is to 
 give the same space for the border as is to be covered by the 
 body. In the example this has been done, but often the pro- 
 portion allowed for the border is less. It will be noticed that 
 the border does not appear as wide as the body. In design- 
 ing the body and border, proceed exactly on the same fines 
 as for the body and border patterns already described — in 
 fact, in order to show the easy adaptation of a body pattern 
 to the purposes of a curtain design, Fig. 15 has been intro- 
 duced into the present pattern. This figure is a drop pattern, 
 and, therefore, assummg that one of this description is being 
 
38 DECOEATIVE AND FANCY TEXTILE FABRICS. 
 
 designed, rule the body section into four equal parts and 
 proceed exactly as described in the remarks on drop patterns. 
 As to the designing of the border, information is given under 
 the head of designs for borders. 
 
 In designing the dado much scope is offered for variety, 
 but, in all cases, it is necessary to commence with a band or 
 such-like distinct feature, which will serve to cut off the dado 
 from the body. In the present case, a broad band has been 
 introduced which serves the purpose well and is a method 
 much in use. But another effective way is to have a more 
 ornamental and less formal " cut-off," formed so that the 
 body pattern may run down into it in an irregular manner. 
 For instance, suppose, instead of the broad straight band, 
 one was drawn the top portion of which consisted of repeated 
 semicircles, or of pointed work. It would be required to 
 finish off the body and border patterns, sketching in a com- 
 pletion to each figure which comes against the semicircles 
 or points. But in doing this, every bit of fresh ornament 
 added to the body and border must come below the bottom 
 boundary lines. This must be observed in order that the 
 body and border patterns may repeat from top to bottom. 
 
 The space devoted to the dado must be divided in the 
 length in exactly the same proportions as for the body and 
 border, as it will be noticed that the whole of the dado repeats 
 in exactly the same width as the body. In designing the 
 present pattern, a deep panel running across the curtain has 
 been introduced. This panel is a distinct and necessary 
 feature in dados, except where cross stripes are introduced in 
 its place. In some cases, instead of the panel running quite 
 across the curtain, the border may be repeated down to the 
 bottom of the dado, or, in place of this, a different border 
 may be used, always providing for the border proper re- 
 peating top and bottom within the same limits as the body. 
 Or instead of repeating the border, a narrow panel may be 
 
HINTS ON DESIGNING OENAMENTAL TEXTILE FABRICS. 39 
 
 employed. In the example shown, the panel running en- 
 tirely across the curtain requires a repetition within the 
 same width as in the body, and, therefore, there is as much 
 space to fill as corresponds with the width of the border. 
 This is easily done, as reference to Fig. 25 will show. As a 
 side boundary to the panel, the outer narrow border band 
 has been used, and it is scarcely necessary to say that, in all 
 cases, to produce a finish to the panel, some such feature 
 must be added. As a termination to the dado, a broad 
 bottom border may be drawn, finishing off with a repeated 
 figure, running into a plain band ; some form of ornamenta- 
 tion may be employed which may have a deep effect and 
 which runs into the plain ground, as shown in Fig. 25. The 
 little finishing touches given to this pattern come with 
 practice. By these is meant the joining of one portion of 
 the pattern to another, by little bits of ornament forming 
 pleasing connections, as, for instance, the manner in which 
 the scroll-work at the bottom of the dado terminates in the 
 narrow band at the side of the panel. 
 
 As a curtain design without dado, this pattern may be 
 easily employed. Take it— body and border— exactly as it 
 now is ; repeat the border across the bottom, and add a 
 corner as for a table-cover pattern. Then, in order to give a 
 finish to it, across the bottom place the scroll-work border 
 shown at the bottom of the dado. Such a pattern would 
 then form a good example of a curtain design, minus dado, and 
 upon the construction of such patterns no further remarks 
 are necessary. 
 
 Particulars for drawing all the most common classes of 
 designs, with figures illustrating them, have now been given. 
 It has been our endeavour to give the instructions as simply 
 as possible, remembering that they are written for those who 
 have no knowledge at all of designing ornamental fabrics, and 
 it is hoped that our efforts may be of benefit to them. 
 
CHAPTER V. 
 
 HINTS FOR RULED-PAPEE DRAUGHTSMEN. 
 
 The subject of ruled-paper drafting is one upon which a 
 few words may be said in treating on the subject of Orna- 
 mental Textile Fabrics. There is a wide difference between 
 a designer and a ruled-paper draughtsman. The first is an 
 inventor of patterns, the second occupies his time in working 
 out these patterns upon ruled or point paper, from which the 
 Jacquard cards are cut. In many estabhshments the two 
 varieties of work are separated, the men of inventive capacity 
 and artistic abihty readily working themselves into the fore- 
 most position, whilst others have to be contented with inferior 
 places and with a correspondingly less salary. Yet it is usual 
 for the inventor of patterns to possess the fullest knowledge 
 of ruled-paper drafting, without which he would not be con- 
 sidered in all respects a designer. In fact, in most branches of 
 manufacture, it is absolutely necessary that his skill in this 
 work should equal his inventive capacity. Take, for instance, 
 Brussels carpet designing : it is quite the regular thing for a 
 man to dispense entirely with a sketch— he will not go to the 
 trouble of composing his pattern previously— he will, with a 
 sheet of ruled paper before him, and by the aid of a pencil, 
 brushes and a few pots of colours, straightway design and 
 complete a pattern. This is not a difficult thing to accomphsh, 
 because the Brussels pattern is an exact facsimile of what the 
 fabric will be when woven. But in the same department, 
 others may be employed in drafting from small coloured or 
 
HINTS FOR RULED-PAPER DRAUGHTSMEN. 
 
 41 
 
 uncoloured sketches, which may have been purchased from 
 outside artists. Much the same mode of procedure is 
 adopted in tapestry carpets. In tapestry fabrics — those 
 goods which are manufactured for curtains, table covers, and 
 upholstery purposes — it is necessary for the designer to be 
 well up in ruled-paper work, for he must fully understand 
 how best any effects which he may introduce into a coloured 
 sketch can be produced in the cloth. He knows for what 
 particular grade of fabric he is designing, and fully under- 
 standing all technical details in the drafting for this, he can 
 compose a design, well knowing that when this is handed 
 on to the ruled-paper draughter, no mutilation of the pattern 
 will be necessary in order to fit it for the purpose intended. 
 
 Now, where sketches are bought from outside artists, this 
 mutilation is quite common. The writer has, scores of 
 times, had patterns before him, the work of the best French- 
 men, which as artistic efforts were beautifully effective, but, 
 when reduced to the cold, practical requirements of a par- 
 ticular fabric, were useless, because so much of their beauty 
 was destroyed whilst being transferred to ruled paper. And 
 such a state of things was absolutely unavoidable, because too 
 much had been attempted in the sketch. The inventor was 
 an artist, but had he shown more of the practical designer in 
 his compositions, it would have been better, not only for the 
 manufacturers who bought his sketches, but also for those 
 -who had the working out of them. In many establishments 
 the designer is required to perform both offices — not only to 
 invent the patterns, but, likewise, to work them out ready for 
 the card-cutter. It may be concluded that it is necessary 
 for all to be expert at ruled-paper drafting. 
 
 DESIGNERS' APPLIANCES. 
 
 All designing departments should be well supplied with 
 the very best appliances required for the work which is 
 
42 DECOEATIVE AND FANCY TEXTILE FABRICS. 
 
 carried on in them. The best advice that can be given to 
 the student who reads these pages is : Let everything be of 
 the best. There is nothing to be gained by inferior pencils 
 or brushes — a man cannot do good work with bad tools. A. 
 common pencil may scratch the paper, or be constantly 
 breaking, or may necessitate an undue use of india-rubber — 
 these httle things seem almost too trivial to be worthy of 
 mention, but it is quite the contrary. Little annoyances 
 cause the designer's attention to be unduly diverted, resulting 
 in a break in the flow of his ideas, besides which, comfort in 
 working must be reckoned as worth something. Even in 
 the httle question of the use of india-rubber a useful hint 
 may be given. Much of that sold by stationers is of no 
 value ; a piece of india-rubber which will not even rub out 
 a line, or, having erased it, leaves a dirty stain behind, is 
 worse than useless. From long experience nothing has been 
 found to equal a piece of grey india-rubber washer, such as 
 can be purchased from any mill furnisher for a few pence, and 
 which will last a generation. On the question of brushes a 
 few words may be said. The cheaper kinds, such as camel's 
 hair, are too soft and pliable for the production of satisfactory 
 work. Every student should purchase a few good sable hair 
 brushes, which, although costing a dozen times as much as 
 camel's hair, will be found well worth the extra expense. 
 With careful usage they will last a very long time, and 
 when their points are worn away they are in their very best 
 condition for ruled-paper work— indeed, it is a practice in 
 some estabhshments, where large-squared design paper is 
 used abundantly, to cut the sable brushes in order to give 
 them a flat point, so that each square on the paper can be 
 filled at one stroke. It would be impossible to prepare a 
 camel's hair brush in this manner, and it would be equally 
 impossible for the average hand to produce such beautifully 
 fine work upon a sketch as is possible by the use of sables. 
 
HINTS FOR RULED-PAPER DRAUGHTSMEN. 43 
 
 In selecting such brushes, buy those in which the hair is held 
 in albata — a white metal — or in tin. They are more durable 
 than those made from quills, because frequent soaking in 
 water sooner or later softens the quills, which then often 
 spht at the brush end, when the hair falls out, and the brush 
 is done. 
 
 COLOUR GRINDING. 
 
 Designers' colours cannot be too well ground. The more 
 time spent in this operation the better and easier the colours 
 will work upon the paper. The implements required are a 
 slab of marble, or plate glass, a muller — a cup-shaped article, 
 usually of marble, having a flat, smooth bottom — a steel 
 pallet knife, and a similar one of bone. The bone pallet 
 knife is always required for the grinding of carmine, in order 
 that the pure brilliancy of the colour may be maintained, for 
 use a steel knife and a black tone is at once the- result — in 
 fact, one might as well dispense with carmine and substitute 
 one of the inferior colours as resort to the use of a steel pallet 
 knife. For some classes of work the colours are mixed with 
 size or Kussian glue, whilst for others, the practice is to 
 employ gum of good quality. In either case its value is 
 obvious, being simply to produce adhesion to the paper. 
 But, where gum is generally employed, an exception is 
 made in the case of carmine, which should always be mixed 
 with Eussian glue, or the result will be similar to that pro- 
 duced by the steel knife — its brilhancy will be impaired. In 
 grinding colours the method is to first dilute the colour upon 
 the slab with water, to crush it well with the muller, then 
 this article should be worked round and round the slab, keep- 
 ing the liquid colour in the centre. In a few minutes the 
 gum or size may be added — experience will teach how 
 much to use — but it is never advisable to put the full quan- 
 tity in at once, because even the experienced hand will at 
 
44 DECOEATIVE AND FANCY TEXTILE FABRICS. 
 
 times overdo it. It is better to proceed with caution — to 
 paint a little of the colour time after time on a slip of paper, 
 which when dry should be rubbed on the back of the hand. 
 If the colour rubs from the paper on to the hand more gum 
 or size should be added, but when the contrary is the case 
 no more is required. Each colour should be ground until 
 every particle of grit is removed, and the student will find 
 that the result quite justifies the time expended. Of all 
 colours, carmine is the easiest to mix — in fact, it may be 
 simply rubbed in a pot with the finger, when, with proper 
 care, every particle will dissolve. Being a most expensive 
 colour, this course may be recommended to students because, 
 by its adoption, there is no waste. It is always well to give 
 such colours as drabs and greys a good grinding, otherwise 
 the tendency is for them to he blotchy and uneven upon the 
 paper, particularly where large patches of these colours are 
 used. It will always be found advantageous to use gum for 
 black. 
 
 VARNISHING PATTERNS. 
 
 In some classes of designing it is found of great advan- 
 tage to have ruled-paper patterns well varnished. This is 
 the case where such designs are subject to a great amount of 
 wear and tear, as, for instance, in the case of those for tapestry 
 carpets. To accomplish this a white spirit varnish must be 
 used, and if carefully apphed with a large hog's hair paint 
 brush or a broad, flat, camel's hair brush, it will dry quickly, 
 after which a second coat may be put on. But where patterns 
 are to be varnished, the colours employed should always be 
 mixed with gum, and a larger quantity of the latter must be 
 used, or the former will have a tendency to smear when the 
 varnish is applied. In grinding colours for varnishing it is, 
 therefore, necessary to try each one on a slip of paper, but 
 instead of being satisfied when they do not rub off on the back 
 
HINTS FOR RULED-PAPER DRAUGHTSMEN. 
 
 45 
 
 of the hand, it is well to subject the slip to a little rough treat- 
 ment in order to make sure that the colour will not crack off. 
 If it stands this test satisfactorily, the colour may be considered 
 fit for varnishing. The mixing likewise is a little different, 
 for the presence of an undue amount of gum has a tendency 
 to produce dulness. It is found necessary, therefore, to allow 
 for this in combining any particular colours in order to pro- 
 duce a required shade. For instance, carmine, being easily 
 ruined, should never be use'd alone, but a colour, the basis of 
 which is vermilion, would be found more suitable for the 
 purpose. With attention to these few hints the student will 
 find all else a matter of that practice which gives experience. 
 
 VARIETIES OP RULED PAPER. 
 
 The varieties of ruled paper employed throughout the 
 textile industries are scarcely credible. Who would imagine 
 that one printer alone has been in the habit of supplying no 
 fewer than three hundred and fifty varieties, ranging from 
 3 X 4, 4 X 4, 4 X 4|, to 4 X 17, and 5 X 5, 5 X 5^, to 
 5 X 36, from 5^ x 6 to 5 J x 36, from 6 X 6 to 6 X 36, from 
 8 X 8 to 8 X 36, 9 X 9 to 9 X 36, 10 X 10 to 10 X 36, and 
 so on, up to 16 X 40 ? These include the papers used in the 
 dress goods, coating and suiting trades ; for tapestry fabrics, 
 damask and silk manufactures; for Brussels, tapestry, 
 chenille and rug designs; for lace curtains and nets; for 
 quilts and toilet covers, and, in fact, for every class of manu- 
 facture, a great number of them being for special purposes. 
 
 DRAFTING RULED PAPERS. 
 
 The process of copying sketches upon ruled or pomt 
 paper is, in some branches of trade, called " putting on". In 
 order to perform this properly, good drawing is absolutely 
 necessary. It is the same with this as with all other classes 
 of draughtsmanship— without skill in freehand drawing 
 
46 DECOEATIVE AND FANCY TEXTILE FABEICS. 
 
 nothing can be successfully accomplished. Given a small 
 sketch to work from, the first thing to be done is to draw an 
 enlargement in pencil, to the size needed, according to the 
 requirements of the cloth for which the ruled paper is in- 
 tended. Some designers use charcoal. This can be pur- 
 chased in sticks by the bundle, but it is by no means so 
 cleanly as pencil, and, except in special cases, the latter is 
 greatly to be preferred. But the proportionate enlargement 
 
 Pig. 26. 
 
 of a given sketch is not such an easy matter, unless the 
 simplest means are adopted. Take a Brussels design as an 
 example. Say the sketch is 6 inches square and the full 
 size of our ruled paper is three-quarters of a yard, this being 
 the actual size of a 10 X 10 large square Brussels paper. 
 In this width, there are 256 small squares, called cords, 25 
 of the large black squares, called designs, and six cords 
 over— that is 25 x 10 = 250 + 6 = 256. We have thus 
 25^ large squares. The easiest way to enlarge the sketch to 
 
HINTS FOE RULED-PAPEE DEAUGHTSMEN. 
 
 47 
 
 this size is, therefore, to rule it into 25| equal portions, both 
 in a horizontal and an upright direction. This is quickly 
 done by the use of a diverging scale, such as the reduced 
 example shown in Fig. 26, and which any designer or student 
 may rule for himself of the size most useful for his require- 
 ments. The method of procedure is as follows : Take a 
 narrow strip of paper and upon this mark the width of the 
 repeat of pattern. Place this upon the scale, so that the first 
 mark upon the strip is immediately over the first diagonal 
 line. Then with the eyes upon the space, between numbers 
 
 Fig. 27. 
 
 25 and 26, run the strip downwards until the second mark 
 upon the latter comes midway between these two numbers. 
 Now mark off the 25| equal portions, and place the strip 
 upon the sketch. Mark the latter, according to the strip, at 
 the top and bottom, repeat the same at each side, and rule. 
 Thus it becomes an easy matter to enlarge the sketch in the 
 exact proportions. Of course, the same result may be ac- 
 complished by the aid of a pair of compasses or dividers, but 
 the above is a much readier, more perfect and less tedious 
 method. Where small square design paper is employed, it 
 
48 DECORATIVE AND FANCY TEXTILE FABRICS. 
 
 will be sufficient to rule the sketch to correspond with every 
 three or even every five " designs ". 
 
 EREORS IN DRAFTING. 
 
 Having made a correct proportionate drawing from the 
 sketch, the next point is, of course, to paint it in. This 
 requires the exercise of good freehand work, or an indiffer- 
 ent result will be produced. It is quite possible, and indeed 
 not by any means unusual, for two men to be engaged upon 
 similar work, when one will bring out a mass of broken- 
 
 FiG. 28. 
 
 backed and altogether faulty ornament, whilst the other will 
 produce a work, the drawing of which is full of spirit and 
 life. Yet, in each case, the pencil lines may have been 
 strictly followed. In the one, the man runs on as a mere 
 machine, he follows his copy, without any idea of effect, the 
 result being altogether displeasing. In the other case, skill 
 in drawing, combined with general artistic ability, causes 
 the artist to notice where errors are made, and to rectify 
 them as he proceeds. The result is the best possible enlarge- 
 ment, which, when produced in the cloth, shows the design 
 
HINTS FOE EULED-PAPEE DEAUGHTSMEN. 49 
 
 of the same size as the sketch, and which is just as perfectly 
 and truly a copy of this as it is possible for a woven fabric 
 to be like a hand-painted design. A couple of very simple 
 examples are given in Figs. 27 and 28. In the first of these, 
 two semicircles have been drawn, and, although the lines 
 have been followed strictly in each case, the first one appears 
 broken-backed, whilst the second shows a curve as graceful 
 as it is possible to make it. In such objects as circles, long 
 or short curves, stems of leaves or flowers, in scrolls, and so 
 on, a system of careful graduation should be adopted ; by 
 this we mean such as is employed in the more perfect of the 
 semicircles, shown in Fig. 27. Working from one of the 
 bottom corners upwards, we paint the cords or small squares 
 in this graduated order. Beginning with 6, this is followed 
 by 4, 3, 2, 2, 1, 2, 1, 1, 1, from which point the curve turns 
 over and repeats itself, thus, 1, 1, 2, 1, 2, 2, 3, 4 and 6 to the 
 centre. Now mark the order of the other semicircle. Begin- 
 ning with 7, it is followed by 3, which is too much of a drop 
 in good drawing, then it goes on with 3, 2, 2, 2, 1, 1, 1, 1, to 
 the turn-over point. This amply illustrates the meaning of 
 careful graduation in drawing with the brush on ruled papers. 
 The two leaves shown in Fig. 28 are each painted versions 
 of the same pencil drawing, the actual lines being in each 
 case closely followed. It is easily seen which of the two is 
 the more perfect. Further examples might be made use of, 
 but the above simple ones will probably be found sufficient, 
 in order to point out common errors that a Httle skill and 
 careful attention will overcome. 
 
 4 
 
CHAPTER VI. 
 
 THE JACQUARD MACHINE. 
 
 Oenamental textile fabrics are of various classes, foremost 
 amongst them being those in which the pattern is produced 
 by the loom, those on which it is printed upon woven 
 cloth, and those on which it is obtained by embossing. 
 Amongst the former is an exceedingly wide range of fabrics 
 in worsted, woollen, silk, hnen, and the less important fibres ; 
 they include such fabrics as silk, worsted, woollen and cotton 
 dress goods ; worsted, silk, hnen and cotton damasks ; 
 tapestry fabrics, composed of silk, wool and cotton ; carpets, 
 counterpanes, figured plushes, Utrecht velvets — in fact, a very 
 numerous variety. Amongst the printed goods, the most 
 important are cretonnes, blinds, maslins and cotton dress 
 goods ; druggets and such-like fabrics. Tapestry carpets 
 are printed, but the printing takes place in the yarn, and, 
 therefore, before the process of weaving. Embossed fabrics 
 are those chiefly used for curtains and upholstery purposes. 
 
 The most important class of ornamental textile fabrics is 
 that in which the pattern is produced during the process of 
 weaving, and which fabrics require the use of the Jacquard 
 machine and harness in their production. It will, therefore, 
 be advantageous, before proceeding further, to give a few 
 particulars of this machine. It would take a large volume 
 to exhaust all that might be said upon this most important 
 and ingenious mechanism, but the space at command will 
 not admit of more than a brief reference to it. 
 
52 
 
 DECOEATIVE AND FANCY TEXTILE FABRICS. 
 
 Many of those for whom these pages are written will be 
 thoroughly conversant with the class of machines called 
 witches or dobbies. These are used in the production of 
 fabrics in which the repeats are very limited, such, for 
 instance, as coatings, suitings and small diaper effects for 
 vestings and dress goods, etc. Nevertheless these machines 
 are often called Jacquards, a mistake which it is difficult to 
 understand. There is a great difference between a Jacquard 
 and a dobby, as will be seen from the short description given 
 of the former. 
 
 Fig. 30. 
 
 DESCRIPTION OF THE JACQUARD. 
 Jacquards are made in various sizes from 200's upwards. 
 There are what are known as single and double-lift Jacquards. 
 Briefly, these consist of an arrangement of upright and hori- 
 zontal wires, inside the machine ; of a harness suspended 
 from the upright wires ; of Jacquard cards, which are in reality 
 another form of the design, and of the cylinder over which 
 the cards pass, thus giving motion to the horizontal and up- 
 right wires, and raising the required harness threads or cords 
 in order that a shed may be formed. The Jacquard machine 
 
THE JACQUAED MACHINE. 
 
 53 
 
 has formed the subject of endless patents, both in this and 
 the other manufacturing countries, and although there are 
 various modes of construction, its distinguishing features are 
 always the same— in fact, so perfect was its first inception 
 that its general principles remain, to this day, as when intro- 
 duced by Joseph Marie Jacquard. In giving a short descrip- 
 tion of the Jacquard, a 300's single-lift machine is taken, and 
 one, the general construction of which is common in the 
 Bradford trade. The Jacquard is mounted above the loom 
 upon two gantrys, i.e., horizontal bars or beams of iron or 
 wood suitably supported. The distance between the machine 
 and the loom is sufficient to allow for the proper accommoda- 
 tion of the harness. Fig. 29 gives a good illustration of a 
 loom and a Jacquard. The machine first of all consists of a 
 framework of iron, having four sides. Inside this frame- 
 work are the upright and horizontal wires. 
 
 Fig. 31. 
 
 The Uprights and Needles. — In the machine under 
 notice there are 304 of each, divided into rows. First, taking 
 the uprights, it will be noticed from Fig. 30 that they have 
 a hook at the top and another at the bottom. The bottom 
 hook is formed by bending the wire in such a manner that a 
 portion of it turns upwards parallel with the main portion 
 of the upright. Many of these wires are made with a simple 
 turn at the bottom, similar in form to the letter U. Fig. 31 
 shows the horizontal wire called the needle. It will be 
 noticed that at the end of the needle there is a loop, whilst 
 upon the needle there is a twist or eye. Fig. 32 shows the 
 upright and needle in proper position one to the other, as 
 placed in the machine. The position of the eye upon the 
 needle varies according to that of the upright to which it is 
 
54 DECORATIVE AND FANCY TEXTILE FABRICS. 
 
 attached in the machine. The illustration gives a view of 
 one of the front uprights and needles. In the case of the 
 second row of uprights, the eye upon the needle will be just 
 as much farther back as the distance between the second 
 and first rows of uprights, and so on for each row throughout 
 the machine. Thus the eyes upon the first row of needles 
 being one inch from the front, those upon the last row of 
 needles are one inch from the back end. 
 
 ^^ 
 
 Fig. 32. 
 
 The Bottom Board. — The bottoms of the uprights rest 
 upon a board usually called the bottom board. Every up- 
 right has a hole immediately under it in the bottom board. 
 Just above this board is a grid or comb with stout wires 
 running between the uprights from front to back. These 
 wires simply prevent the uprights from twisting or otherwise 
 getting out of position. 
 
 The Block and Knives. — Towards the top of the 
 machine and immediately below the top hooks of the up- 
 rights, the block is situated. This consists of an iron frame- 
 work large enough to enclose the whole of the uprights in 
 
THE JACQUARD MACHINE. 
 
 55 
 
 the machine. Across the block are situated rows of thin 
 bars called knives. The number of knives corresponds with 
 the number of rows of uprights. This is a most important 
 feature in the mechanism, as the block rises and falls, caus- 
 ing the knives to come in contact with the hooks on the 
 uprights, and, providing no card was in use, the whole of 
 the uprights would rise and fall with the corresponding 
 movement of the block. The knives are arranged across 
 the machine with their faces at an oblique angle, in order 
 that, upon the fall of the block, the knives may shde 
 over the tops of those uprights that have not been raised 
 according to the exigencies of the pattern being woven. But 
 for this arrangement of the knives, they would, in falling, 
 come down upon the uprights, the result being much damage 
 to this important and most easily injured portion of the 
 mechanism. 
 
 The Face Board and Spring Box. — At the top, to 
 the front of the machine, the face board is placed. This is 
 perforated with holes corresponding to the number of needles, 
 and consequently each needle has its own particular hole, 
 through which its point passes, projecting sufficiently for 
 the card to come in contact with it. Immediately opposite 
 the face board, at the back of the machine, is the spring box. 
 This is also perforated to correspond with the number of 
 needles. In every perforation there is a small coiled spring. 
 The loops at the back ends of the needles are so formed as 
 to have the power of depressing these springs, every needle 
 having its own spring. 
 
 The Card Cylinder. — The card cylinder, illustrated in 
 Fig. 33, has four flat faces or sides. Each side is perforated, 
 the same number of holes, of course, being allowed on each 
 side as there are needles in the machine and holes in the 
 face board ; in the present case this is 304. The cylinder is 
 fixed towards the bottom of the cylinder frame in such a 
 
56 DECOEATIVE AND FANCY TEXTILE FABKICS. 
 
 manner that the holes on any of the four sides come exactly 
 opposite those in the face board. There are pegs upon each 
 side of the cyhnder which fit into corresponding holes in the 
 face board. The cyhnder frame has a swinging motion from 
 its top, similar to a door upon its hinges. This movement 
 allows of the cards being successively brought in and re- 
 moved from contact with the needles. The card cyhnder 
 turns a quarter of a revolution at a time, a spring catch 
 projecting from the side of the Jacquard to the cyhnder in 
 order to accomplish this. A spring hammer holds the 
 cyhnder in position until it requires another turn. 
 
 The machine has extra uprights for the edging or selvage, 
 which are provided for in the bottom board, face board, spring 
 box and card cylinder. 
 
 =%iiiiiliiiiilllliiltltiiiitllltt%ll%f^ 
 
 Fig. 33. 
 
 The Jacquard Cards. — The cards consist of strips of 
 pasteboard, having holes punched in them in accordance with 
 the requirements of the design. Each card represents one 
 pick in the pattern, and every hole punched means one warp 
 thread to be raised. When the whole of the cards to com- 
 plete a design have been cut, they are laced or sewn together 
 to form an endless band. In the case of lacing, suitable 
 holes are punched in each card, through which they are 
 bound one to the other by the aid of string. Holes are 
 punched corresponding with the pegs upon the cylinder. 
 
 THE HARNESS. 
 Such is a brief and simple description thus far of the 
 mechanism of the J acquard machine. How the various parts 
 obtain their motion will be referred to later. There is still 
 
THE JACQUARD MACHINE. 
 
 67 
 
 the harness to deal with, and this is treated of as shortly as 
 possible. The operation of making the harness is called 
 " tying up," and every particular composition of a harness is 
 called a " tie-up ". The harness is constructed of thin linen 
 cords of great strength, and in order to add to their durabihty, 
 they are subjected to treatment by a composition of Htharge 
 and other ingredients. As a simple example, suppose a design 
 is being woven in a 300's single-lift machine, this would give 
 304 uprights to be utiHsed. If it is desired to have ten 
 repetitions of the pattern in the full width of the cloth 
 woven, there would be 3040 warp threads to operate upon. 
 Therefore, ten harness cords would be operated upon at the 
 same time by each upright in the machine. This would 
 constitute a " ten pattern harness ". 
 
 The Neck Bands. — The harness cords are connected 
 with the uprights by means of neck bands, cords looped to- 
 each upright, and each neck band passes through a hole in 
 the bottom board. Continuing the above example, there 
 would be 304 sets of ten harness cords. Each of the sets of 
 ten is stitched together and attached to its own neck band. 
 
 The Comber Board. — The comber board is a fiat board 
 stretching across and suitably supported upon the loom. 
 This board is perforated, the closeness of the holes being 
 guided by the number of warp threads per inch. The 
 number of holes corresponds with the number of warp 
 threads to be employed in the full width of the cloth to be 
 woven. In the present example, this would be 3040. Now 
 in the 300's single-hft machine (304 uprights), there are 
 eight rows of uprights arranged in two nineteens, or thirty- 
 eight to a row. As the same number of harness threads^ 
 viz., 304, forms one pattern, the comber board is marked into 
 ten divisions or patterns. In each division there are 304 
 holes. There are, therefore, 16 rows of 19 holes, or 8 double 
 rows of 38 to the double row, or 3040 in the whole comber 
 
58 DECOBATIVE AND FANCY TEXTILE FABRICS. 
 
 board. Then in the full width of the comber board there are 
 16 single complete rows, numbering 190 holes to each row, 
 the same total, 3040, in the comber board. Taking a single 
 upright and the harness thread attached to it, and showing 
 the distribution of these harness threads across the comber 
 board, a good idea of the formation of a harness is given. 
 Taking the first upright to the left hand in the front row, 
 and numbering from left to right, there would be the ten 
 harness cords distributed, one in the first hole in each division 
 or pattern, on the front row in the comber board, or, to put 
 it another way, the 1st cord would be in the 1st hole, the 2nd 
 in the 20th hole, the 3rd in the 39th, the 4th in the 48th, the 
 5th in the 67th, the 6th in the 86th, the 7th in the 105th, the 
 8th in the 124th, the 9th in the 143rd and the 10th in the 
 172nd hole. Now, taking the sets of ten harness cords which 
 are attached to the remaining 303 uprights and distributing 
 them in similar proper order through the holes in the comber 
 board, the complete harness is produced. The particular 
 upright above mentioned is taken as an example, because the 
 harness cords come to the front row of the comber board, 
 but the actual tying up of a pattern is done from right to left 
 and from the back rows of uprights to the back rows in the 
 comber board, so that the particular upright mentioned in the 
 example would be the last to be operated upon in tying up 
 a harness. Still, the distribution of the harness cords would 
 be in the exact order given. The comber board is supplied 
 a,t each end with holes for the accommodation of the harness 
 cords for weaving the edging, or selvage. 
 
 The Healds. — The harness cords having passed through 
 the holes in the comber board have the healds or heddles 
 attached to their ends. These are of two kinds, viz. : those 
 ■of cord, containing a metal mail, as shown in Fig. 34a, and 
 those composed of wire, as shown in Fig. 34b. In the case 
 •of those made of wire, the warp threads are passed through 
 
THE JACQUAED MACHINE. 
 
 59 
 
 the loops or holes towards the centre. In those made of 
 cord, the warp threads pass through the eyes in the centre 
 of the mails. A harness weight or Hngo is attached to the 
 bottom of every heald, as shown in Fig. 35. The lingo is a 
 long straight weight, a portion of it only being shown in this 
 figure. 
 
 There are innumerable styles of tying up the harness, and 
 to enter into these would be a very long task indeed. These 
 pages are written for the benefit of those who possess no 
 information on the subject, and, therefore, the remarks here 
 made will be quite sufficient for this portion of the subject. 
 
 Fig. 34. 
 
 How THE Jacquaed OBTAINS ITS MoTioN.— The J acquard, 
 of course, obtains its motion from the loom. Upon one end 
 of the top shaft there is a sweep-plate, towards the edge of 
 which a treading rod is attached. This treading rod is of a 
 sufficient length to extend a little above the top of the 
 Jacquard. To the top end of the treading rod, one end of 
 the lever is attached, the other end of the latter, which is 
 immediately above the centre of the Jacquard, being con- 
 nected by means of a bar or rod to the block containing the 
 knives. The lever is pivoted at a suitable point, and is also 
 
60 DECORATIVE AND FANCY TEXTILE FABRICS. 
 
 supported at this point. Now, upon the revolving of the top 
 shaft, the sweep-plate revolves also. This causes the treading 
 rod to ascend and descend. This in turn gives motion to the 
 lever, and from this to the block. When that end of the 
 lever which is connected with the treading rod descends, the 
 reverse end attached to the block ascends, carrying the block 
 with it, and vice versa. The swinging motion of the cylinder 
 frame is obtained from the opposite end of the loom. Upon 
 the end of the top loom shaft there is an eccentric. From 
 this eccentric a rod reaches upwards to the motion shaft, to 
 the end of which it is attached by the aid of an iron arm. 
 Upon the motion shaft there are smaller iron arms, placed in 
 such positions that jack rods attached to them reach upwards, 
 one to each side of the Jacquard. Side arms are fixed upon 
 the cyhnder frame, projecting along the sides of the machine, 
 and to the ends of these the upper ends of the jack rods are 
 connected. The swinging motion imparted to the motion 
 shaft is transmitted by the aid of the jack rods and side arms 
 to the cylinder frame, and thus is the cylinder alternately 
 placed in, and removed from, contact with the needles pro- 
 jecting through the needle board. 
 
 The Action of the Jacquard. — How the Jacquard gets 
 its motion from the loom has been shown. It only requires 
 a few words upon its action. Given a set of cards : these are 
 placed upon the cylinder, -and the loom is set in motion. 
 When a card comes in close contact with the needles, wher- 
 ever there are holes, the needles penetrate them, and thus 
 there is no movement of them, consequently the uprights 
 remain in their proper positions to be raised. But all needles 
 coming in contact with the blanks in the cards are pushed 
 back, carrying their uprights with them. Thus, upon the 
 blocks rising, the knives catch all the uprights which have 
 not been pushed back, and raise them, and, therefore, the 
 harness threads attached to these particular uprights are 
 
THE JACQUAED MACHINE. 
 
 61 
 
 elevated, carrying their warp threads with them, and so form 
 a shed with those warp threads not raised. Those needles 
 which are pushed back by the blank spaces in the cards 
 depress their own particular springs in the spring box, but 
 immediately upon the cylinder turning for the accommodation 
 of the next card, the needles are released and the springs 
 push them back again to their proper position, ready for the 
 next card to operate upon. 
 
 The Double-lift Jacquaed. — The difference between 
 a single and a double-lift machine is easily understood. 
 Whereas, in the former, there is one block and one set of 
 knives, in the latter, there are two blocks and two sets of 
 knives. The arrangement of these parts is such that each 
 set of knives is kept out of the way of others in rising and 
 falling. There is a double set of uprights, but the needles 
 are the same in number as in a single-lift machine. There 
 are, however, two twists or eyes upon each needle, so that 
 two uprights are operated by one needle. The uprights are 
 longer than those in the single-lift Jacqiiard, and, instead of 
 resting upon the bottom board, they come quite through this 
 for some distance, but there is a bend at the end of each 
 wire to which the neck bands are attached, and, following 
 this bend, at the upward termination of the wire, there is a 
 second hook. This hook, when not lifted, rests upon a grate. 
 Each set of harness cords is attached by neck bands to two 
 uprights, instead of to one, as in a single-lift machine, so that 
 the harness is being operated upon by the two sets of 
 uprights. The power is transmitted from the loom by 
 means of a sweep-plate, fixed on the end of the bottom loom 
 shaft, instead of on the top loom shaft, as in the single-lift 
 machine. There are two treading rods fixed at opposite 
 points on the sweep-plate. There are two levers, one for 
 each block. The power actuating the cylinder frame is 
 obtained precisely the same as for the single-lift machine. 
 
62 DECOEATIVE AND FANCY TEXTILE FABEICS. 
 
 By the use of a double-lift, ' a loom can be run much faster 
 than with a single-lift Jacquard. Fig. 35 gives an illustration 
 of a double-lift Jacquard. 
 
 Such is a brief description of the Jacquard machine, 
 which has enabled manufacturers to produce much more 
 beautiful fabrics on the power loom than would otherwise 
 have been possible. 
 
 Fig. 35. 
 
CHAPTER VII. 
 
 BRUSSELS AND WILTON CARPETS. 
 
 Having given a brief description of the Jacquard machine, 
 which is used in some form in the manufacture of all orna- 
 mental fabrics made upon the power loom, I will now deal 
 with the more important of those fabrics which are of a 
 distinctly ornamental nature. Carpets are particularly of 
 this class. Besides being amongst the most useful of 
 articles, they are prominent in the adornment of the home, 
 whether they be of Brussels, Tapestry, Axminster, or of the 
 class known as " Scotch," " Kidderminster," or " Art Squares," 
 or of the common varieties. 
 
 For the present the remarks on Brussels and Wilton 
 carpets. Generally speaking, the two are really one fabric, 
 there being little difference in the process of manufacture. 
 In what this difference consists is briefly mentioned later. 
 The manufacture of Brussels carpets has changed wonder- 
 fully. Twenty years or so ago, but one standard quality was 
 made ; now, so-called Brussels carpets can be bought at very 
 low prices, but of the wearing qualities and taste exhibited 
 in the design, it is best to say nothing. There have, how- 
 ever, been wonderful improvements made in machinery, as, 
 for instance, in the looms for the manufacture of carpets in 
 one piece up to four yards wide. The standard width of 
 ordinary Brussels and Wilton carpets is three-quarters of a 
 yard. 
 
64 
 
 DECOEATIVE AND FANCY TEXTILE FABRICS. 
 
 Fig. 36. 
 THE BEUSSELS LOOM. 
 The engraving— Fig. 36— gives a very good illustra- 
 tion of a Brussels carpet loom. This has been taken 
 
BRUSSELS AND WILTON CAEPETS. 
 
 65 
 
 from a photograph supplied through the kindness of 
 Messrs. John Crossley & Co., carpet machinery makers. 
 The Jacquard, the card, the harness and the loom itself 
 are all clearly visible. There is, however, one feature 
 in the illustration which will not be understood by the 
 general reader, viz., the creels, shown at the back of the 
 loom. These will be referred to later. As every one 
 knows, the face of a Brussels carpet is composed en- 
 tirely of small loops, the whole of it consisting of warp 
 yarn. 
 
 Warp and Weft. — Brussels and Wilton carpets are 
 woven upon the double shed principle. The wire forming 
 the loops is inserted at the same revolution of the crank 
 shaft of the loom, as when the shuttle is being picked or 
 thrown. There are two chain warps and one stuffing warp, 
 besides that which forms the face of the fabric. The last 
 is, of course, operated by the Jacquard mechanism, but for 
 the working of the chain and stuffing warps, three healds are 
 employed. These warps are carried upon two beams placed 
 at the back of the loom — the two chain warps upon one 
 beam and the stuffing warp upon another. The face warp, 
 only, consists of worsted yarn, the chain and stuffing warps 
 being of cotton, linen or similar material, as is also the weft. 
 
 The Creels. — The warp forming the face of the fabric 
 is wound upon bobbins, placed upon the creels, which are 
 shown at the back of the loom. These creels vary in number 
 according to the quality of the carpet. For what is known 
 as a "five-frame," five creels are necessary; for a "four- 
 frame," four creels, and for a "three-frame," three creels. 
 Sometimes, however, a variation in the pattern causes the 
 use of a sixth creel for the making of a five-frame fabric, a 
 similar increase in the number of creels being necessary in 
 the case of three- or four-frame fabrics. This, however, will 
 be referred to later. Suppose " five-frame " carpet is being 
 
66 DECORATIVE AND FANCY TEXTILE FABRICS. 
 
 made. In the best quality, the standard pitch is 256 ends, 
 showing upon the face in the width of the cloth, but, in 
 reahty, this number of ends must be multiplied by five, that 
 is 1280 ends, representing the full number of ends of face 
 warp employed. There are, therefore, 256 bobbins of yarn 
 upon each of the five creels. 
 
 The Eeed. — Through each dent in the reed, one end of 
 each colour is drawn, and through the same dent, two chain 
 warps and the stuffing warp are also drawn. There are thus 
 no fewer than eight ends in each dent. 
 
 The Jacquard, — The Jacquard machine employed varies 
 from that previously described, but still the principle of the 
 machine is the same. The points of difference may be 
 easily described. There are no wire uprights in this machine, 
 their place being taken by cords, yet the result is the same, 
 the necessary warp threads being raised as required. Still, 
 machines have been made in which wire uprights were 
 employed, but those in general use have cords, in place of 
 uprights, worked by needles, precisely as in the ordinary 
 Jacquard machine. There is the usual card cylinder, of 
 course, but in this case it is hexagonal in shape instead of 
 four-sided. There is a " lift board," situated towards the 
 top of the Jacquard, perforated with holes, corresponding 
 with the number of needles employed. This " lift board " 
 raises the tail cords to which the harness threads are at- 
 tached. The " lift board " is constructed so as to have a 
 tilting movement, the object of which is to obtain a clean 
 top shed, that is to say, that the warp threads may be 
 exactly in line with each other. The comber board rises and 
 falls by the aid of a lever, and by a cam is fixed to the bottom 
 loom shaft. The object of this is that in weaving a five- 
 frame carpet, four frames, according to the exigencies of 
 the pattern, may be lifted out of the way, so that the shuttle 
 may pass for the purpose of binding the fabric. There is no 
 
BEUSSELS AND WILTON CAEPETS. 67 
 
 spring box, the needles being pushed back at every pick of 
 the pattern by means of a back board, suitably actuated. 
 
 The Cards. — The ordinary Jacquard cards are employed, 
 but, as will be seen from Fig. 36, three sets of cards are re- 
 quired for a three-quarters wide carpet. When carpets of a 
 greater width are being woven, an extra set of cards is used 
 for each quarter of a yard in the width of the fabric. Thus, 
 for a yard wide, four sets of cards are necessary. Of course, 
 the more sets of cards in use, the larger the Jacquard 
 must be. The needles are increased in number, and the 
 various parts of the machine are arranged accordingly. 
 
 The Haeness. — Little need be said upon the harness, 
 which is of the usual character, with mails and hngoes com- 
 plete. One point, however, may be mentioned — each pick of 
 
 »iiniiiiiiiiiiiiiiiiiiiiuiiiiiiiiuiiiliiii.uiiiiiii iiiiuiiiumiiiiiiiiiiiiiiiiimii. i l l l l llll l l l lll l 
 
 Fig. 37. 
 
 the pattern brings 256 ends of warp to the face of the fabric. 
 This means that in an ordinary fabric, such as dress goods, 
 256 harness cords would form one pattern of the harness, 
 but, in the present case, this is not so. In weaving a five- 
 frame design, there are five times 256 warp ends to provide 
 for, therefore the harness contains 1280 ends. 
 
 The Wire Motion. — The wire motion is a most im- 
 portant piece of mechanism, and is situated at one end of 
 the loom. Its purpose is to actuate several long wires, upon 
 which the loops of the fabric are formed. Figs. 37 and 38 
 are views of the two ends of a Brussels and a Wilton wire. 
 Fig. 37 being the Brussels wire, which varies from 31 
 to 31| inches in length, and Fig. 38 the Wilton wire, 
 varying from 30| to 31 inches in length. The number of 
 wires in use varies, but, ordinarily, there are from 26 to 28, 
 
68 DECOEATIVE AND FANCY TEXTILE FABBICS. 
 
 covering about three inches of fabric. Suppose a loom is 
 working, and the first 27 of these wires have been operated 
 upon, that is to say, 27 picks of the pattern have been 
 formed. The twenty-eighth wire is being operated upon, the 
 loops of the fabric are formed upon the wire, and the moment 
 this has been done, the first wire in the set is drawn out of 
 the fabric, and, when quite clear, passes forwards and is in- 
 serted in position, that is, taking the twenty-eighth position, 
 and upon this wire the next pick of the pattern is formed. 
 And so it goes on ; as each wire is occupied another one is 
 drawn from the fabric to take its place. 
 
 Fig. 38. 
 WILTON CARPET. 
 
 As before stated, there is not much difference between 
 the manufacture of Brussels and Wilton carpets. There is, 
 however, a shght difference in the binding of the latter, and 
 the loops of the fabric are cut as the wires are drawn out 
 after each pick, and for this purpose there is a small knife 
 at the end of each wire, as shown in Fig. 38. After weav- 
 ing, the fabric is passed through a cropping machine, which 
 produces a smooth, even pile. 
 
 BRUSSELS CARPET. 
 
 The term " five-frame " carpet is commonly in use in all 
 wholesale and retail warehouses, as well as in the factory, 
 but outside the latter place, there are very few who under- 
 stand anything as to the meaning of the term. They know 
 that it is intended to convey the impression that the goods 
 
BRUSSELS AND WILTON CARPETS. 69 
 
 are of the best quality, but why, they cannot explain. I 
 happened, a short time ago, to be in one of the largest 
 wholesale carpet houses in this country, and, in conversation 
 
 Fig. 39. 
 
 with the salesmen, I discovered that not one of them knew 
 what a five-, four-, or three-frame carpet was. I will en- 
 deavour, as briefly as possible, to give a few particulars upon 
 this point. Upon reference to Fig. 36, it will be noticed that 
 
70 DECORATIVE AND FANCY TEXTILE FABRICS. 
 
 there is a series of frames called creels, at the back of the 
 loom, placed in a slanting position, their near ends coming 
 almost in close contact. In th& weaving of a five-frame 
 carpet, not fewer than five of these would be employed. 
 Now, supposing there were five colours in one design — say, 
 yellow, red, blue, green and black — there would be 256 
 bobbins of each colour. These bobbins would be placed 
 upon the creels, each colour upon a separate creel. There 
 would thus be five full creels of yarn, which would make 
 a five-frame carpet. But there may be five, six, or any 
 number of colours in a five-frame fabric, and here comes 
 in the skill of the designer in arranging his design so that 
 he may distribute his colours artistically, and yet within the 
 recognised scope of the fabric for which he is designing, 
 
 A Five-Frame Design. — Fig. 39, a design for a Brussels 
 or Wilton carpet, is given simply as an example to illustrate 
 our explanations, and not as a specimen of a fashionable or 
 good selhng type of pattern. The design is on 128 ends 
 and would therefore require repeating once to make up 
 the full three-quarters, or 256 ends. Carpet designs have 
 one distinguishing feature which is not at all common to 
 designs for woven fabrics in general. The carpet pattern, 
 when drawn upon the full-sized design or point paper, is 
 the exact counterpart in size, colour, and in all other 
 particulars of the fabric woven from it. Thus the designer 
 sees, as it were, the actual thing growing under his brush, 
 and therefore precisely what the fabric will be when woven. 
 The point papers in use for the best quality carpets are 
 10 X 10 and 8x8. Keturning to the explanation — the design 
 shown in Fig. 39 is for a five-frame fabric, although six 
 colours are employed. The use of the extra or sixth colour 
 is made possible by what is known as "planting," that is, 
 the arrangement of two colours on one frame. The simplest 
 form of doing this is to have four full frames. Say, there 
 
 / 
 
BEUSSELS AND WILTON CARPETS. 
 
 71 
 
 are black, brown, gold, red, blue and green, which are good 
 plain colours for illustration. The black, brown, gold and 
 red could be full frames, that is, 256 bobbins of each colour 
 would be used, and thus each would be employed through- 
 out the full width of the fabric. But with the blue 
 and green it would be different. These two colours must 
 be " planted," which means that, throughout the length of 
 the piece, wherever blue appears, no green may appear in 
 line with it, and vice versa. Fig. 39 shows this arrangement. 
 If the reader carefully examines this design, he will notice 
 
 Fig. 40. 
 
 that the darkest and the second drabs (the hghter being 
 employed for the ground) do not run in line, but are parallel 
 with each other. 
 
 In order that this may be clearly understood, an illustra- 
 tion is given in Fig, 40, which shows how these two colours 
 are planted. The crosses indicate the darker, and the dots 
 the second drab. There is only one quarter of the design 
 given, but this is sufl&cient, as the planted colours turn over 
 each way. 
 
 In a " five-frame," as before stated, there are at least 
 five colours which can be traced as spreading quite over the 
 
72 DECORATIVE AND FANCY TEXTILE FABRICS. 
 
 full width of the cloth. If there are more than five, it v^ill 
 be apparent that no more than an equivalent to the five 
 colours will be used, and no fewer should be used, but that 
 is another matter which is not always observed. Any sales- 
 man or buyer should, with a little attention, be able to 
 " spot " precisely whether a carpet is three-, four-, or five- 
 frame. It may be asked what particular virtue a five- 
 frame has over a three- or four-frame. This is easily 
 understood. There are 1'280 ends of yarn used, and no 
 more than 256 can come to the face of the fabric at one 
 pick of the pattern, therefore there are 1024 ends forming 
 the back of the fabric. It will thus be seen that the carpet 
 is thicker, softer, and consequently more durable, besides 
 which, better designs can be utilised. 
 
 The Plant or Gamut. — Immediately under the design 
 is the plant or gamut. This indicates the arrangement of 
 the colours in the design. In the present case it shows 
 clearly that the first four colours are "full frames," that is, 
 they are employed indiscriminately throughout the design, 
 as may be required, 256 bobbins of each colour, of course, 
 being used in weaving. The fifth and sixth colours are 
 shown on the plant exactly as they are arranged in the 
 design. There are 70 ends of dark drab and 58 ends of 
 fight drab, or 128 ends in all. When the pattern is repeated 
 once there are 256 ends, or a full frame. Now, as the gamut 
 is detached from the pattern, the designer, who places it in 
 proper position under the portion of the design upon which 
 he is working, is enabled to indicate upon it every fresh bit 
 of colour that he uses ; therefore, it effectually prevents the 
 introduction of an excess of colour in the pattern. The 
 bobbins are placed on the creels according to the arrange- 
 ment of the colours on the gamut, and thus, in weaving, 
 these colours appear in the carpet in their proper positions. 
 Manipulation of Colours.— In the designing of carpets, 
 
BRUSSELS AND WILTON CARPETS. 
 
 73 
 
 by the careful manipulation of colours, wonderful effects 
 may be .obtained with many colours at precisely the same 
 cost in yarn as if five only were employed upon the five 
 creels. In the example only six are given on account of 
 the difficulty of clearly showing more in a black and white 
 engraving, but it would have been easy to have employed 
 seven, eight, nine, or more in the same design, the only 
 requirement being that all the extra colours should be 
 planted. Now, suppose seven were employed instead of six 
 colours in this design, say a salmon pink, there would then 
 be one frame consisting of blue, green and salmon pink. 
 The salmon pink could be placed at each corner of the four 
 rosette figures, shown diagonally between the large centre 
 figure and. the same figure at each corner of the design. 
 The gamut or plant would require to have the salmon pink 
 indicated upon it. Counting from the left-hand side, this 
 extra colour must be placed on the five ends from Nos. 20 
 to 24 inclusive, from Nos. 42 to 46, from Nos. 84 to 88, and 
 from Nos. 106 to 110. 
 
 In the illustration one frame only is shown planted. It 
 is, however, quite a common practice to plant the colours in 
 more than one. Say there are three full frames. There 
 could be changes of colour in the next two. There is 
 scarcely an end to the planting of the colours, or to the 
 general manipulation of them to which the designer may 
 resort. He must, however, keep in view one or two im- 
 portant points — the planting of his colours must not be 
 such as to produce a distinct striped effect — this must be 
 entirely avoided, as also must a tendency to a blotchy ap- 
 pearance. It is quite possible for the designer to find that 
 there is such a thing as too much scope for the production 
 of effects of colour, which is apt to tend in the direction of 
 vulgarity, instead of to neat and artistic excellence. 
 
 Chintz Patterns. — In the unlimited extent to which 
 
74 DECORATIVE AND FANCY TEXTILE FABRICS. 
 
 planting of colours may be employed, probably a drab or 
 green chintz pattern forms the best example. Taking a 
 green chintz, which is a design in which floral effects are 
 introduced, the designer gets as closely to nature as possible. 
 He may employ a black, two greens and a yellow, which may 
 Tdb used for the ground, ornament and foliage — four full 
 frames. The flowers will be in natural colours, but there 
 "would only be one frame remaining, on which these colours 
 might be arranged. Here comes in the skill of the designer. 
 He will arrange the flowers in such positions that only those 
 immediately under each other shall be in the same colour. 
 But dotted about in various positions across the width of his 
 •de»ign he will have flowers in crimson, in scarlet, in blue, 
 
 grey and in other shades. But how does he get variety of 
 shade in the same flowers ? Simply by striping his flowers 
 downwards. He commences at one side, say with deep 
 crimson, and this is used from top to bottom of the flower, 
 say for four ends, then on the next four ends he has a lighter 
 crimson, and so on, until, at the opposite side of the flower, 
 he has the palest pink or even a white. Each flower is 
 treated in the same manner, and a very satisfactory result is 
 obtained. Every change of shade must be indicated on the 
 gamut, which may, in the end, show that on one frame there 
 may be 20, 30, or more shades of colours, which means that 
 on one creel alone there may be bobbins carrying 20, 80, or 
 more different shades of colours. 
 
 Using Extra Creels.— Occasionally a sixth creel will 
 be employed for the making of a five-frame fabric, but this 
 practice is by no means often resorted to. It is mentioned 
 io show what may be done under certain conditions. For 
 instance, the nature of the design may be such that only 
 Tery small quantities of one or more colours are visible in 
 some portions of the design. These small quantities of 
 •colour should be " stopped out " by substituting some of the 
 
BRUSSELS AND WILTON CARPETS. 
 
 75 
 
 other colours. There would, therefore, be a certain number 
 of ends vacant, that is, a certain number of bobbins of yarn 
 of one or more colours would be saved. The same number 
 of bobbins might be placed upon the sixth creel, and thus 
 an extra effect of colour would be obtained in the design. 
 To make this clearer refer to Fig. 39. Looking straight up 
 the centre of the design it will be noticed that between the 
 small rosette at the top and bottom and the large figure in 
 the centre there is only one pick of ground colour, but in 
 line with this there are two or three picks of the same shade, 
 within the large figure. This ground colour for, say, three 
 ends could be "stopped out" with a little manipulation. 
 The same is done in the dropped repetition of the pattern, 
 and it gives us six bobbins of colour. If these six bobbins 
 were utilised in some other portions of the design, by the 
 introduction of small dots of a bright shade, a good effect 
 would be produced. This " dodging" of colour is, however, 
 oftener resorted to in three- and four-frame carpets, four or 
 five creels thus being used. It is by no means an uncommon 
 occurrence in a three-, four-, or five-frame fabric to " stop out " 
 portions of colour in any one frame and to abstain from 
 introducing a corresponding amount of colour in another 
 place. The result of this is that a certajn quantity of yarn 
 is saved, and the general effect of the design is little, if any, 
 the worse for the saving. 
 
 Sizes of Designs.— In the designing of Briissels and 
 Wilton carpets, much scope is allowed to the designer, as 
 will be evident from the foregoing particulars. In point of 
 size of design also there is a good margin for the production 
 of bold patterns. It will be understood that as 10 X 10 or 
 8x8 design or point papsr is used, the ends of face warp 
 equal the picks in a given area, as will be noticed from Fig. 39. 
 A three-quarters design is 256 ends wide by 256 picks long. 
 A yard and a half pattern is, of course, 256 by 512. Any 
 
76 DECOEATIVB AND FANCY TEXTILE FABRICS. 
 
 length of design may be adopted up to the latter size, but it 
 is not a usual thing to go beyond it. The yard and a half 
 pattern is much used for bold effects, but one may go further 
 than this by the adoption of the method described and illus- 
 trated previously in these pages. This method gives to a 
 pattern the effect of a yard and a half v^ide repeat. For a 
 description of this, it will be necessary to refer to " A Further 
 Example of the Drop Pattern," and to Figs. 13 and 14 illus- 
 trating it. Hitherto body Brussels have only been dealt 
 with, but there are borders and stair carpets, upon which we 
 may be expected to say something. However, as most^ if 
 not al], that has already been said is applicable to the latter 
 well as to body Brussels, it is scarcely necessary to say 
 much more. The sizes mostly in use for stair carpets are 
 half-yard, five-eighths, three-quarters and four-quarters. The 
 proportions for body and border of a stair carpet are im- 
 portant ; the border may be too wide or too narrow. As 
 instances of due proportions, we may mention that a five- 
 eighths stair would have, say, 46 ends for each border and 126 
 ends for the body or filling, or 218 in all. A three-quarters 
 would have, say, 54 for each border and 148 for the body or 
 fining, or 256 in all. Borders vary in width — three-eighths, 
 half-yard and five-eighths being sizes in use, although the 
 most common are the two former. A three-eighths border 
 would have, say, 126 ends, and a half-yard 172 ends. The 
 planting of the colours and all other particulars are the same 
 as for body Brussels. 
 
CHAPTER VIII. 
 
 TAPESTRY CARPETS. 
 
 Tapestby carpets rank araongst the most important of 
 ■ornamental textile fabrics, and we, therefore, propose to 
 give a few particulars of their method of manufacture. The 
 ordinary observer is quite unable, except from an examina- 
 tion of their backs, to distinguish between a tapestry and a 
 Brussels carpet, and yet, in the processes of manufacture 
 and in the cloths produced, there is a wonderful difference. 
 
 DIFFERENCE BETWEEN BRUSSELS AND TAPESTRY. 
 
 By placing the two side by side, a clearness and sharpness 
 about the Brussels pattern is noticed which is absent from 
 the tapestry. In the latter there is a mistiness about the 
 colours, and the pattern lacks that sharpness and delicacy 
 which characterises the former. This is due to the process of 
 manufacture. A Brussels is a yarn dyed and a tapestry may 
 be described as a printed fabric, but the printing is done 
 upon the yarn before the process of weaving. The whole 
 method of manufacture is most ingenious. In the making 
 of a five-frame Brussels, to which the previous chapter was 
 mainly devoted, no fewer than 1280 ends of face yarn are 
 required for the weaving of one piece of standard quality — 
 each frame consisting of 256 bobbins. It was pointed out 
 that 256 ends only can come to the face at each pick of the 
 pattern. Therefore, 1024 ends of yarn are hidden in the 
 body of the fabric. There are many qualities of tapestry 
 made, but these remarks will be confined to the standard 
 
78 
 
 DECOEATIVE AND FANCY TEXTILE FABEICS. 
 
 quality. In the production of this only 216 ends of face yarn 
 are required, instead of 1280, which shows at once that the 
 Brussels carpet has the great advantage of being thicker, 
 softer and altogether a more durable cloth, apart from other 
 advantages which it possesses. There is a limitation in the 
 
 Fig. 41. 
 
 number of colours used in a Brussels as described in the last 
 chapter. In tapestry there is no limit. In the Brussels the 
 whole of the colours used show a more or less striped ap- 
 pearance at the back of the fabric. In a tapestry they do 
 not show at the back at all. In passing, it may be said that 
 this fact is made use of by householders in purchasing carpets, 
 
TAPESTRY CARPETS 
 
 79 
 
 this being about the only way the average person can tell 
 the difference between them. In order to pass off tapestry 
 as Brussels, some ingenious makers have resorted to amongst 
 other methods the striping in a regular manner of the 
 backs of the former. The stripey effect in the latter is 
 broken and irregular. A casual observation of the clearly 
 defined character of a Brussels pattern should enable a buyer 
 to distinguish between the two fabrics. There are three 
 processes which call for special mention— those of printing, 
 setting and weaving. 
 
 THE PRINTING PROCESS. 
 
 The illustration — Fig. 41 — is that of a printing drum. 
 It has been already stated that the yarns are printed before 
 weaving. This operation is a most important one. The 
 drums are of various sizes, the one shown being what is 
 technically known as a "half print " — the precise meaning 
 of which will be seen later. The dimensions of this are as 
 follows : Circumference, 18 ft. 9 in., and width, 3 ft. First of 
 all the drum is covered with thin oil-cloth of a special kind. 
 The yarn is then wound upon the drum, from 6 or 8 bobbins, 
 and, when full, the printing commences. One man, the 
 printer, and a boy, the filler, are required for each drum. 
 The printer stands upon a platform immediately in front 
 of the drum. 
 
 The Print Boards. — To the right hand of the printer 
 is a narrow frame, not shown in our illustration, furnished, 
 with a cord and pulley. The print boards are attached to this 
 cord, and the pulley enables them to be raised or lowered as 
 required, in order that the operator may have any desired 
 portion of the design within range of his eye. They consist 
 of long, narrow boards, from which the precise manner in 
 which the yarn must be printed is ascertained. The pattern 
 to be printed from is cut into a certain number of strips, each 
 
80 DECOEATIVE AND FANCY TEXTILE FABEICS. 
 
 of which is fixed upon a separate board. Every colour upon 
 these bears a distinct number in white paint. 
 
 The Index. — At the right-hand edge of the drum and 
 running around its circumference are two indexes, A, one 
 being for tapestry, numbered from 1 to 648, the other for 
 tapestry velvet, numbered up to 432. The numbers upon 
 the various colours on print boards correspond with those 
 upon the index, and by reference to the two sets of numbers, 
 the operator is enabled to print any colour exactly in proper 
 position upon the yarn, as the drum revolves, either automa- 
 tically or by hand as required, and to stop at any point desired. 
 
 The Colour Boxes. — For each colour printed upon the 
 yarn, a separate colour box is required, furnished with wheels, 
 in order that they may pass under the print drums, a pair 
 of lines being laid down for this purpose. Inside each box 
 is a revolving disc. The colours are put into the boxes by 
 the filler, whose duty it is also to place them upon the 
 lines in the order called for by the printer. As the box runs 
 along the fines forwards and backwards, the disc inside it 
 revolves, bringing the colour with it. This disc is in close 
 contact with the yarn, and, consequently, as the former re- 
 volves, the colour is printed in a straight line across the 
 latter, the full width of the drum. This portion of the 
 mechanism is situated under the drum at B. The filler 
 stands at the right-hand side of the machine, at which point 
 he has free access for the changing of the colour boxes. 
 
 Printing the Yarn. — Having briefly described the drum, 
 the index, the print board, and the colour boxes, a few 
 words will now be sufficient to show how the yarns are 
 printed. The yarn being wound upon the drum and every- 
 thing being in order, the printer refers to his print board. 
 The colour, numbered 1, may be a red — his drum revolves 
 to the corresponding number on the index ; the word is 
 given to the filler, and the required box is placed in position. 
 
TAPESTRY CARPETS. 
 
 81 
 
 Away it runs forwards and backwards, leaving its impression 
 upon the full width of the yarn upon the drum. All the red 
 in the design is treated in a hke manner, followed by other 
 colours, the drum revolving and stopping as may be necessary 
 until the yarn presents an array of stripes of varied hues — 
 red, green, blue, black, brown, yellow, or any others that 
 may appear in the design. It may be somewhat puzzling to 
 understand how these yarns are made to compose a pattern, 
 but this will be shown later, 
 
 Eemoving the Yarn from the Drums. — When the 
 whole of the yarn contained upon the drum has been 
 printed, it is removed bodily, in order that more may be 
 wound upon it, to be treated in like manner. Firstly, it will 
 be seen that as the yarn is wound round and round the drum, 
 it could not be bodily removed, and, secondly, as the lower 
 portion of the drum is encased in a framework, the yarn 
 could not be removed at all, except by the process of un- 
 winding. In order to accomplish this, three contrivances 
 are adopted. To produce a slackening of the yarn, a section 
 of the drum (a " door "), at two opposite points, is let down. 
 The yarn is, therefore, at once loosened. Then the upper 
 portion of the framework, at the left-hand side, is also let 
 down, which appears to produce this result, viz., that as the 
 shaft upon which the drum revolves is deprived of its means 
 of support at the left side, it must inevitably topple over. 
 But not so. Such a result is prevented by a little arrange- 
 ment upon the right-hand end of the shaft. Upon this shaft 
 there is an eye-bolt at C, by which, on tightening by the aid 
 of the handle at D, the drum is held firmly in its proper 
 position. The yarn and also the oil-cloth upon which it is 
 wound are removed bodily, and all the parts are re-adjusted 
 ready for the printer to operate upon a fresh lot of yarn. 
 Such, briefly, is the process of printing yarns for the manu- 
 facture of tapestry carpets. 
 
 6 
 
82 
 
 DECOEATIVE AND FANCY TEXTILE FABEICS. 
 
 Steaming the Yaens. — Tapestry yarns after being 
 printed are subjected to a steaming process, which fixes the 
 colours. For this purpose, steaming chests are used, the 
 shape of which varies, some being oblong, whilst others 
 are cyhndrical. The yarn is placed in these chests, stretched 
 upon frames. There is little in this operation which calls 
 for special description, neither is there in the process of 
 washing — cold water only being used — nor in that of drying. 
 
 Fig. 42. 
 
 THE setting machine. 
 
 When the printed yarn has been steamed and dried, it 
 requires winding upon bobbins. It was mentioned that the 
 yarn from 6 or 8 bobbins was wound upon the half-print 
 drum at one time. This must now be re-wound upon the 
 same number of bobbins. When the whole of the yarn, 
 composing the full width of the carpet, has been printed and 
 re-wound, it is sent to the " setter ". The ihustration — Fig. 
 42 — is a view of a setting machine. This operation is 
 
TAPESTRY CAEPETS. 
 
 83 
 
 usually undertaken by members of the female sex. The 
 back portion of the view shows the creels, upon which the 
 bobbins are placed. The ends of the yarns are then drawn 
 through a pair of clasps, A, extending across the front of the 
 creels. In front of the latter is the setting board, B. This 
 is marked across its width with a series of parallel lines, the 
 object of which is to enable the setter to arrange the various 
 colours of the yarn in proper positions to form the pattern. 
 The yarns next pass through clasps, shown at C, and from 
 thence to the beam, which is placed upon the shaft, D. The 
 large wooden roller at E presses against the beam, as the 
 yarn is being wound upon it, and thus makes a hard, firm 
 beam of yarn. 
 
 How THE Setting is Done. — It will be understood that 
 each end of yarn is printed in a variety of colours. There 
 may be an inch of red, succeeded by six of blue, three of 
 black, four of green, and so on, the colours ever varying 
 throughout the whole length. As a large number of bobbins 
 are being used it will be readily understood that by a proper 
 arrangement of the various colours drawn from the whole of 
 the bobbins some rough formation of a pattern is produced. It 
 is the setter's duty to accomplish this. By a little manipu- 
 lation with each end of yarn, using the lines upon the set- 
 ting board as a guide, we ultimately arrive at an elongated 
 representation of the desired pattern. Just to what extent 
 this elongation appears will be understood when it is con- 
 sidered that a pile or looped fabric is to be woven, that the 
 loop consists of two sides and the turn or top of the loop, 
 and that, in the process of weaving, the two sides of the 
 loop are practically hidden, the turn or top forming the face 
 of the fabric. The creels are made to advance and recede 
 for about the space of 12 ft., this being the length of yarn 
 operated upon at one time. When this length has been 
 properly set, the clasps, A, fix it until it has been wound on 
 
84 DECORATIVE AND FANCY TEXTILE FABRICS. 
 
 the beam. The same operation is repeated until the whole 
 has been transferred to the beam, when it is ready for the 
 weaver. 
 
 THE TAPESTRY LOOM. 
 
 The loom for weaving tapestry carpets is similar in some 
 respects to the Brussels loom already described, and yet 
 there are important points wherein it differs. A fabric is 
 being woven consisting only of 216 ends, whereas the five- 
 
 FiG. 43. 
 
 frame Brussels loom operates 1280. There is, therefore, no 
 Jacquard, and consequently no cards or harness, neither are 
 creels required. In other respects, the loom is much like 
 that for the weaving of Brussels, as the following particulars 
 will show. 
 
 Warp and Weft. — The warp forming the face of the 
 fabric is wound upon a beam, as already stated. There are also 
 two chain warps and a stuffing warp. The two chain warps 
 
TAPESTEY CAEPETS. 
 
 85 
 
 are carried upon one beam, and the stuffing warp upon 
 another. The double shed principle is adopted as in the 
 Brussels loom. The chain and stuffing warps, and also the 
 weft, are of cotton, linen or similar material, and are operated 
 by four healds. 
 
 The Eeed. — Through each dent in the reed, one end of 
 face yarn, an end of each chain warp, and an end of stuffing 
 warp are drawn. There are thus four ends through each 
 dent. 
 
 The Wiee Motion. — The wire motion is almost identi- 
 cal with that on the Brussels loom, similar wires being em- 
 ployed to those shown in the previous chapter, the tapestry 
 wire being like that in Fig. 42, and the tapestry velvet wire 
 like that in Fig. 48. The motion operates in exactly the same 
 manner as that already described. As the pick is formed 
 upon one wire, another is inserted in its place. This wire 
 motion is shown to the right of the loom, illustrated in Fig. 
 43. This is a view of a tapestry velvet loom. This is given 
 because on the tapestry loom the wire motion being almost 
 identical with that on the Brussels loom, a comparison be- 
 tween the tapestry and tapestry velvet motions may be 
 made. 
 
 TAPESTEY DESIGNS. 
 There are various qualities of tapestry carpets, but the 
 standard quality is 216 ends in width. For the designing of 
 this quality, 8-1-7 ruled or point paper must be used. There 
 are many points of difference in designs for Brussels and 
 tapestry carpets. For instance, in the latter, there is no 
 planting of colours to trouble one, as the method of manu- 
 facture is such that any number may be employed. Of 
 course, the designer uses discretion in this matter. He will 
 require just sufficient colours to produce a telling and taste- 
 ful effect. It is by no means an easy thing to draw a good 
 tapestry design. Whilst in Brussels, every flower or orna- 
 
86 DECORATIVE AND FANCY TEXTILE FABRICS. 
 
 ment, in fact, every line or dot which appears in the design 
 is reproduced in the carpet, in tapestry this is not the case. 
 Certain colours run or spread into other colours, and the 
 designer must thoroughly understand what will be the effect 
 of the design when it is woven. Now suppose he draws a 
 band in two colours, say a gold and a brown, with a row of 
 balls in brown and white — he would have about double the 
 thickness of gold lines compared with his brown lines. So 
 
 Fig. 44. 
 
 also, the balls would be mostly white, very little brown being 
 sufficient to show up well when the pattern is woven. Thus, 
 as the designer applies his colours to the paper, he must see 
 in his mind's eye the result in the carpet, the lightest colours 
 being made most prominent, but when woven, the light and 
 dark will be pretty evenly balanced, owing to the spreading 
 above mentioned. The result of this spreading of the colours 
 is noticeable in any tapestry. It is to this that the pattern 
 
TAPESTEY CAEPETS. 
 
 87 
 
 owes its ragged and misty appearance, which is entirely- 
 absent from Brussels. Fig. 44 is a section of a simple design 
 for tapestry, which will serve the purpose of illustrating this 
 manipulation of colours. Before leaving this part of the 
 subject, it may be explained that, in certain cases, the balance 
 of light and dark colours would be about even, that is, of 
 course, if they were required to appear so in the woven fabric. 
 Lines running upwards are treated in this manner, but 
 diagonal lines, or those running across the width, would 
 require more light than dark. The pattern, Fig. 44, has been 
 drawn specially to illustrate these points. 
 
 The Sizes of Designs. — The designer is restricted to 
 certain sizes of designs. The full width of the standard 
 quality is, as before stated, 216 ends. It has been mentioned 
 that the index upon the printing drum has divisions num- 
 bered from 1 to 648. Any division of 648 can be utilised for 
 the length of a design. Thus— 324, 216, 162, 108, and so 
 on, can be used, but a good and useful size is 216. The 
 illustration — Fig. 41 — shows what is known as a half-print 
 drum. There are also quarter-print and full-print drums. 
 These terms denote the style of the design, and the style of 
 design governs the particular drum upon which the yarn for 
 that design is printed. A quarter-print pattern has four 
 repetitions of the design in the width. A half-print has two 
 repetitions in the width. These repetitions may be either 
 straight across or "dropped". The full-print pattern is, 
 of course, one in which one repeat occupies the full width, 
 viz., 216. 
 
 Borders and stair carpets are, of course, made in tapestry. 
 The borders mostly in use are woven two in the width of 
 a piece. In stair carpets, half-yard, or, as they are techni- 
 cally termed, two-quarters, five-eighths, and three-quarters are 
 mostly used. 
 
 Designer's Coloues. — The tapestry designer is furnished 
 
88 
 
 DECORATIVE AND FANCY TEXTILE FABRICS. 
 
 with a full range of all the colours he ever requires, and 
 these are legion. They are, of course, mixed by himself, or 
 by one of his assistants, by the aid of a glass or marble slab, 
 a muller and a pallet knife. In the mixing of tapestry colours, 
 a large quantity of gum is used, because the designs are all 
 coated, when finished, with spirit varnish, to prevent the 
 latter from smearing or otherwise spoiling the design. In 
 Brussels designing, colours are usually mixed to shade for 
 each separate design. In tapestry, as above stated, the 
 designer has a range of colours of every conceivable shade, 
 that he is continually using, and as they are finished, others 
 exactly like them are mixed to take their places. The colours 
 set hard in the saucers in which they are placed, but a little 
 water is all that is required to make them usable again. 
 
CHAPTER IX. 
 
 INGRAIN CARPETS. 
 
 The fabric commonly known as " Scotch," " Kidderminster," 
 and "Art Squares" is properly called "Ingrain Carpet". 
 This differs widely from the two fabrics already described, 
 as it is not a looped fabric. Many readers are conversant 
 with double cloths for wearing apparel, and the ingrain 
 ■carpet is a perfect type of a double cloth, for the decoration 
 ■of the home, which may be worn on either side, with equal 
 .satisfaction from either a wearing or an ornamental point of 
 Tiew. 
 
 The fabric in an artistic sense does not compare in its 
 ■effectiveness with the more expensive Brussels carpet, its 
 clearness and beauty in design and its great adaptabihty for 
 tasteful colour effects giving the latter the pre-eminence, but 
 its wearing qualities are considered to surpass those of 
 tapestry carpets. Being a double cloth, it is reversible, for 
 whereas there may be upon one side Hght ornament on a 
 •dark ground, on the other there would be dark ornament on a 
 light ground. There are varieties of the fabric made, and to 
 touch upon all these would take up too much space, but in 
 ■order to give sufficient particulars to enable the reader to 
 learn something of the method of manufacture, attention is 
 called to the extra super two-ply ingrain carpet, which is the 
 .standard quality made. 
 
 INGRAIN CARPET LOOM. 
 
 The illustration— Fig. 45 — shows a loom for the manu- 
 facture of ingrain carpets, engraved from a photograph 
 
90 DECORATIVE AND FANCY TEXTILE FABRICS. 
 
 supplied by Messrs. John Crossley & Sons. This loom in 
 its general features partakes more of the character of a 
 Jacquard loom for the weaving of fabrics for wearing 
 
 Fig. 45. 
 
 apparel than of the two previously described, viz., the 
 Brussels and the tapestry looms. The ingrain looms are 
 generally of the kind known as vertical box-looms. They 
 
INGRAIN CARPETS. 
 
 91 
 
 are made up to six boxes. The illustration shows the 
 Murkland type, which is an American invention, but has 
 been improved in various particulars in this country. This 
 loom is made with upright or circular boxes, the former 
 being shown in the illustration. 
 
 Warp and Weft. — For the manufacture of extra super 
 two-ply ingrain, four warps are required, which, however, 
 really work as two. These are wound upon one beam. They 
 are solely controlled by the Jacquard mechanism— no healds 
 being required, as in the case of Brussels carpet. Through 
 each dent in the reed, four warp ends are drawn. In any 
 ordinary case, four wefts are employed, but in some, extra 
 colour effects are produced, and, therefore, more shuttles are 
 used. 
 
 The Jacquard. — The Jacquard machine employed is 
 similar to that for the manufacture of Brussels carpets, but 
 differs in important points from the machines ordinarily in 
 use for the generality of fabrics. For the weaving of a piece 
 of ingrain carpet, a Jacquard of 272 needles is employed; 
 this produces one repeat of a design half a yard in width. 
 Like the Brussels Jacquard, the majority of machines have 
 cords, worked by the needles instead of by wire uprights, as in 
 the ordinary Jacquard. In some cases, wire uprights are 
 in use, but the cords appear to be in greater favour. For 
 weaving an art square, which is a most popular form of in- 
 grain carpet, there would be of course a Jacquard of double 
 capacity, viz., 544 needles or two machines of 272 needles 
 each. The needles in one of the single machines, or half the 
 number of those in the double machine, would be utilised 
 for the weaving of the body, the border and corner being 
 controlled by the remainder of the needles. With the re- 
 mark that the Jacquard is very similar to that used in the 
 Brussels loom previously described, this portion of the sub- 
 ject may be dismissed. 
 
92 DECOEATIVE AND FANCY TEXTILE FABRICS. 
 
 The Harness. — The harness is constructed upon the 
 principle generally in vogue. There are 272 needles, which 
 would weave a repeat of half a yard. The full width of a 
 piece of ingrain carpet is one yard. Therefore every needle 
 is controlling two repeats of the fabric. The harness is, 
 however, much more extensive when weaving an "Art 
 Square," because it would be required to control the warp 
 threads for the borders and corners at each side of the carpet, 
 and also a number of repeats of the body according to the 
 width of the " square " being manufactured. But one point 
 may be mentioned. There are four warps, really working 
 as two, and, consequently, instead of 272 harness threads 
 being required for each repeat of a pattern, there are 544 or 
 272 for each side of the double cloth. 
 
 The Cards. — In the manufacture of these fabrics, the 
 Jacquard cards are an expensive item. The ordinary cards 
 are employed, and in the making of an " Art Square" some 
 idea of the cost may be obtained. For piece goods, of course, 
 one set of cards only is required, but for the " square," a set 
 is necessary for the body, one for each of the two borders, 
 a,nd one for the corner, or four sets in all. For each change 
 of the cards, the loom must be stopped, and the change 
 effected by hand. 
 
 THE INGRAIN CARPET. 
 
 In the manufacture of ingrain carpets, four warps and 
 four wefts are employed, as previously stated — two warp 
 threads and two weft threads for the figure, and the same 
 number of each for the ground. Extra effects of colour may 
 be obtained, first, by ordinary means, and, second, by special 
 means. By the ordinary method, a striped warp is employed, 
 the proportion of the various colours being guided by the 
 ruled paper design. The planting of colours has been de- 
 scribed in the particulars given on Brussels carpets. This 
 
INGEAIN CARPETS. 
 
 93 
 
 planting is all done in the warp. In ingrain, extra effects 
 may be got by planting or striping the warp, and, further, by 
 employing extra shuttles. The result is not, however, perfec- 
 tion, as a fabric is obtained more or less one mass of stripes* 
 The colours show up plainly in all places where they are 
 intended to show, and, to produce this result, what are termed 
 half-tone effects of the same colours show between, which 
 cause the fabric to be stripey, and far from pleasing from 
 
 Fig. 46. 
 
 an artistic point of view. The special means adopted for 
 producing extra colour effects are due to enterprising manu- 
 facturers, one of whom, in the Leeds district, shows some 
 really beautiful specimens of ingrain carpets. By these 
 special means, extra colours are placed in required positions, 
 according to the nature of the design, without the objectional 
 feature above referred to. By way of example, notice the 
 design given in Fig. 46. In the upper right-hand corner are 
 
94 DECORATIVE AND FANCY TEXTILE FABRICS. 
 
 three flowers. By the ordinary method of striping the warp, 
 the centres of the three flowers could be got in different 
 colours, but there would be a subdued stripe effect of the 
 same colours running down the design, until same flowers ap- 
 pear again, and if it was required to bring up these colours in 
 the small flowers which intervene, the largest of them striped 
 would be in the two colours used for the centres of the large 
 flowers immediately above. Here comes in a little lesson in 
 designing. This design does not lend itself readily to this 
 method of striped warps, as, in order to produce the best 
 possible results, the designer must either refrain from bring- 
 ing up extra colours again, that is, they would not appear 
 again until the same flowers were struck in the next repeat, 
 or he must alter his design in order to more effectively make 
 fuU use of his extra colours. These remarks apply to all 
 classes of textile fabrics, where planting of colours is an im- 
 portant feature. Under such conditions, the designer will 
 generally see that flowers, leaves or portions of ornament, 
 which can be utihsed for the introduction of extra colours, 
 are placed in relation one to another, so that the object to be 
 attained shall be effected with the best possible results. The 
 design — Fig. 46 — would not be objectionable if special means 
 were adopted for using extra colour effect. Manufacturers 
 have been ready to recognise the objection to the striped 
 effects in Ingram carpets, and, to avoid this, have hit upon 
 the plan of a neutral shade of warp, or some union of warp 
 threads which will harmonise with the weft colours intro- 
 duced to give a pleasing variety to the design, the warp 
 being of one shade for the figure and one for the ground 
 only, throughout the fabric. In Brussels, almost any number 
 of colours can be used, because they only show just where 
 required on the face of the fabric, and, when not required, are 
 hidden away at the back. In ingrain it is different — the 
 stripes show on both sides of the cloth, and hence the great 
 
INGEAIN CAEPETS. 
 
 95 
 
 improvement resulting from the efforts made by various 
 manufacturers to overcome what were, to any one with taste 
 ^ind artistic feeling, objectionable fabrics. Where these 
 striped fabrics are manufactured, the objection to them is 
 not so forcible as was formerly the case, where large geometri- 
 cal designs were employed, and stripes of from four to six 
 inches of one colour were displayed throughout the length of 
 a piece. Truly, the taste displayed in the manufacture of 
 ingrain carpets has made vast strides during the last gene- 
 ration. 
 
 Ingeain Designs. — In designing for ingrain carpets, 
 there is much scope for the skilful draughtsman, who should 
 always bear in mind the nature of the fabric for which he is 
 designing. In other words, he should endeavour to have the 
 fabric growing in his mind's eye as he proceeds with his 
 work. He should be ready to fully estimate what the effect 
 of any portion of the work upon which he may be engaged 
 will be upon both sides of the fabric. The illustration given 
 in Fig. 46 shows a good specimen of a design for an ingrain 
 carpet. The bordered designs which were given earlier 
 would also adapt themselves readily for this purpose. Ke- 
 ferring to Fig. 46, the large figure lends itself readily for the 
 introduction of extra colour, which might be placed in its 
 centre portion. The same colour could come in the three 
 small flowers at the edge of the scroll above. Then the 
 centres of the three flowers at the top, to the right hand, 
 could be in the same colour, which might be also utilised 
 for the smaller flowers below. Floral or ornamental designs 
 are very popular, but large geometrical figures of the class 
 already named are out of date. The patterns should not be 
 too crowded nor too much cut up, as a mass of detail is 
 objectionabla When it is considered that the full repeat of 
 a design is half a yard, it is seen that the designer has much 
 scope for his powers. The same size is allowed for a border 
 
96 DECORATIVE AND FANCY TEXTILE FABRICS. 
 
 and for a corner, and thus the designer, with a ready con- 
 ception, can produce effective and artistic patterns. But 
 here an observation may be made which is appHcable to any 
 form of border designing, viz., whilst a border should har- 
 monise with the body, it should not partake too closely of 
 the motif of the body pattern. Let the border be bold — if 
 possible, bolder than the body, and whilst in full harmony 
 with it, let the ornamentation be different. In the majority 
 of cases, the result will be most satisfactory, as variety is. 
 thereby obtained, and variety is pleasing. The width of a. 
 repeat has been mentioned. The most suitable length for 
 a design is the same, viz., half a yard, because it enables- 
 the manufacturer the more easily to utilise a design, either 
 for piece goods or for a " square ". The length of the repeat 
 being equal to the width enables the same ornamentation 
 of the border to be used at the sides of a fabric that appears 
 at the top and bottom, this being a desirable feature, pro- 
 ducing a full carpet square of the most harmonious character. 
 It may be taken for granted that a manufacturer having an 
 eye to his interests will be ready to supply any pattern,, 
 either in piece goods or in the form of the " Art Square," sO' 
 popular in ingrain carpets. 
 
 KuLED OR Point-paper Patterns. — In order to show 
 the method employed for drafting designs upon ruled paper, 
 a portion of Fig. 46 has been worked out as an example, Fig. 
 47. This takes in one of the flowers shown at the top, to the 
 right hand, in Fig. 46, with portions of the ornament im- 
 mediately surrounding it. The design — Fig. 47 — shows four 
 colours, two for the figure and two for the ground. The 
 first figure thread, which is white, mates with the first 
 ground thread, black. So that in weaving, white figure ap- 
 pears on the face, and black figure on the back. The same 
 occurs with the next thread, and so on throughout the 
 pattern. A further colour effect might be obtained by shading 
 
INGRAIN CARPETS. 
 
 97 
 
 a design, where possible. By shading a design, the introduc- 
 tion of a half-tone is meant. This might be produced by 
 indicating upon the ruled paper alternate picks of the figure 
 and ground, as shown in the centre of the flower in Fig. 47., 
 This is useful, not only in this case but also in the shading 
 of large leaves or scrolls ; in fact, it may be employed where 
 it is not desired to use extra colours, or even in conjunction 
 
 Fig. 47. 
 
 with them. Taking Fig. 46, this half-tone would be used in 
 the centre portion of the large or principal figure and in one 
 or two other places, which might be found suitable by the 
 designer, as he worked out the pattern upon ruled paper. 
 Where extra colours are used, they would be placed in 
 similar positions to those indicated for the half-tone effect. 
 The example given in Fig. 47 should supply any additional 
 information upon ruled-paper drafting required by those 
 
 7 
 
98 DECOEATIVE AND FANCY TEXTILE FABRICS. 
 
 interested, and we, therefore, consider further particulars un- 
 necessary — beyond the fact that design paper, having an 
 equal number of cords or squares each way, is used for the 
 drafting of extra super two-ply ingrains ; thus 8x8 paper 
 may be used. The full repeat of a ruled paper is 272 cords 
 or squares in width, this being the standard for the cloth 
 here described. In the drafting of patterns for ingrain 
 or "Art Square," four ruled papers are required — one for the 
 body, two for the end and side borders, and one for the 
 corner. 
 
 If the student carefully notes the particulars here given, 
 he should, with practice, be able to work out a design suit- 
 able for ingrain fabrics, granting, of course, that he is pos- 
 sessed of the necessary inventive power and the skill required 
 in the way of freehand drawing, A good technical know- 
 ledge of the loom and J acquard is not absolutely necessary, 
 even to the most skilful designers of a large variety of 
 ornamental fabrics. Many very clever designers have little 
 knowledge of looms, whilst a great number have none at 
 all. 
 
CHAPTEK X. 
 
 AXMINSTER CARPETS. 
 
 Information has been given on Brussels, tapestry and 
 ingrain carpets ; a most important variety, namely, Ax- 
 minster, must now be dealt with, as these chapters would 
 not be complete without some notice being taken of this 
 really beautiful fabric. It is with no little difficulty that 
 this portion of the subject is taken up, as there are many 
 varieties of Axminster, and to treat upon all would be almost 
 an impossibility; therefore, those particular cloths which will, 
 from their importance, prove the most interesting and in- 
 structive will be considered. 
 
 THE AXMINSTER CARPET. 
 
 The fabric is constructed of hank-dyed yarns, as in the 
 case of Brussels and Wilton carpets, but they differ widely 
 in the process of manufacture. The Wilton is really a 
 Brussels with the pile cut. An Axminster is also a cut-pile 
 fabric, but the pile is formed in a totally different manner 
 from that of the Wilton, besides which, it is much thicker. 
 The Wilton is woven on wires — the Axminster is not. It 
 will be seen later how this is done. In the former, there 
 are certain limitations to the use of colours, as described in 
 a previous chapter. All colours used above a certain number 
 require to be planted — that is to say, in the weaving of a 
 " five-frame " there may be ten colours (any reasonable 
 number may be used), and, if there are four full frames, six 
 colours would be planted in the fifth frame. These six 
 
100 DECORATIVE AND FANCY TEXTILE FABRICS. 
 
 colours would run in rows, lengthwise of the piece. In 
 Axminster, there is no limitation to the number of colours 
 employed, but the means by which this is accomplished will 
 be mentioned in proper order. As before remarked, there are 
 many varieties of the fabric ; for instance, " hand-made," 
 "patent or chenille," "royal" and " aristo," the two latter 
 being the same fabric, differing only in "pitch ". 
 
 One of the main difficulties in the treatment of such a 
 subject as the present is its proper illustration. Firstly, as 
 to illustration by designs — no good service would be done 
 by giving a "raled-paper pattern" of each class, therefore 
 only one has been drawn, and, even in this case, an imperfect 
 result is obtained, consequent upon the inability to show in 
 a black and white engraving a necessary number of colours. 
 Notwithstanding this drawback, the pattern will be found 
 useful for the proper elucidation of one or two points. This 
 design is for a three-quarter yard fabric, only half this width 
 being shown. It is a reverse or centre pattern of the same 
 type as that explained in Figs. 9 and 10 in the chapters 
 given earlier upon "Hints on Designing Fabrics". The 
 "royal" is a cloth which has attained much prominence 
 in the trade, because it is woven upon a power loom of 
 unique construction, the original patent for which lapsed 
 some time ago. The illustrations given in the patent speci- 
 fication are of too complicated a nature to be of service in 
 a treatise written in the simplest manner possible. 
 
 Axminster carpets are continually gaining in popularity. 
 The fabric is beautifully effective — is thick, and at the same 
 time soft to the tread, whilst it is also durable, and, what 
 is most important to the purchaser, it has come down greatly 
 in price. 
 
 Hand-made Axminster. — Briefly, this is made without 
 a loom, and something after the following manner : Two 
 wood rods run parallel with each other. In the manufacture 
 
AXMINSTEE CAEPETS. 
 
 101 
 
 of a three-quarter yard fabric, these rods would be such a 
 distance apart as to accommodate that width of cloth. The 
 pile is constructed of tufts of yarns, each one of which is 
 separately tied into the warp, and, when a full row has been 
 fixed, the weft is introduced, and thus the process proceeds 
 until a complete piece results, which then requires to be 
 cropped and finished. In the case of a "square," the pro- 
 cedure is much the same. 
 
 The Patent Axminster.— There is a great difference 
 between the making of the "patent" and the "royal" 
 Axminster carpet, but, at the same time, if these carpets m 
 their finished state were laid side by side, it would, in some 
 cases, be difficult for an inexperienced person to distinguish 
 between them. There is also a very wide difference between 
 the making of the patent Axminster and the tapestry or 
 Brussels, and while one might be deceived with the patent 
 and the royal, no one, not even the most inexperienced, 
 could fail to discover the difference between these two and 
 the tapestry or Brussels. There are two processes of weav- 
 ing in the patent Axminster, while in the others, there is 
 only one, and, moreover, in the former, there is really no 
 Hmit to the number of colours or shades that may be used, 
 and, what is of more consequence, carpets may be woven 
 in one piece, without seam or join, to fit any room, hall, 
 landing or stair. The advantages of this are very apparent 
 to all, even to those who know httle or nothing about 
 carpets, inasmuch as users know well that all joined carpets 
 wear at the seams, and at the mitres at the corners. Of 
 course, some Brussels are now made to do away with the 
 mitres at the corners, and tapestries and Brussels are also 
 being manufactured in squares without seam, but the fact 
 remains that, for beauty, and, what is infinitely of greater 
 value, durability, there is nothing to excel the Axminster. 
 As a proof of the favour in which Axminsters are held 
 
102 DECOEATIVE AND FANCY TEXTILE FABRICS. 
 
 by the community, it is only necessary to mention such 
 names as Kichard Smith & Sons (The Carpet Manufac- 
 turing Co., Limited), Tomkinson & Adam, James Temple- 
 ton & Co., and John Lyle & Co., who are so closely 
 identified with this particular make of carpet, and when 
 the thousands of workers they employ are considered, 
 some idea of the demand for the fabric can be formed. 
 
 In making a patent Axminster carpet, the first thing a 
 manufacturer has to consider is the quahty wanted, and the 
 qualities that can be made are legion. Having determined 
 this, he then proceeds to put the design on point or ruled 
 paper, according to the quality determined upon. These 
 papers are then cut into strips or shots, and from them, 
 the weft cloth is woven, according to the design, in looms 
 specially built for the purpose. From the weft loom the 
 cloth passes on to the cutting machines. These machines 
 cut the webs of cloth, which are woven on what may be 
 termed skeleton warps, into strips, which, on being closed 
 or twisted, as the case may be, form the chenille fur shots, 
 which go to make the surface of the carpet. The next 
 process of manufacture is the making of the back of the 
 carpet and the setting of the face thereon. This also is 
 done on an elaborately and intricately built loom. The 
 warps having been set in the loom — in some cases there 
 are four or five warps — the formation of the back begins, 
 either with a fine jute thread or with a heavy woollen one, 
 as desired, and on this the chenille fur, which has previously 
 been prepared, is set, while the back is being made. It will 
 be readily conceived that as each consecutive chenille fur 
 shot, which is woven in the necessary colours to the pre- 
 viously painted papers, is set, it will form and produce a 
 pattern in the cloth, the same in every respect as that 
 originally painted on the paper. From the setting loom, 
 the carpet passes to the cropping machine, where the sur- 
 
AXMINSTER CARPETS. 103 
 
 face is cropped of all the loose fibre or fluff, and, finally, it 
 is steamed and finished, from whence it issues a beautiful 
 and durable article, ready to adorn our homes. 
 
 ROYAL AXMINSTER LOOM. 
 
 Amongst the several inventions for the manufacture of 
 
 
 
 
 
 
 
 
 
 
 - 
 
 
 Fig. 48. 
 
 this cloth there are two which contain so many points of 
 similarity that we shall endeavour to treat upon both, 
 showing the reader in what manner one differs from the 
 other, but, in the end, accomphshes the same result. The 
 first of these is an invention by A. Smith and H. Skinner, 
 and the second by C. E. Skinner and E. Tymeson, all 
 four of whom have their homes in the United States of 
 America. 
 
104 DECORATIVE AND FANCY TEXTILE FABRICS. 
 
 Reference has been made to the hand-made cloth and 
 how each tuft in a row requires to be tied separately into 
 the warp. The object of these inventions is to perform 
 this process by mechanical means, and, at the same time, 
 to bind them into a perfect and durable fabric. There is 
 no necessity to enter fully into the subject of the whole 
 loom, as certain parts, which are in reality the essence of 
 the inventions, are only necessary to give the reader a g6od 
 idea of the method of manufacture. Briefly, there are a 
 breast beam and cloth roll in front of the loom and also 
 warp beams as in any other carpet loom. There are healds 
 too for forming the shed, constructed and operated in the 
 usual manner, and means are provided for beating up the 
 warp threads. In Brussels and ingrain carpet looms the 
 Jacquard machine is an essential portion of the mechanism, 
 but in the present case this is entirely dispensed with, the 
 various colours of yarns, or tufting materials as they are 
 called, being arranged upon spools, each of which is operated 
 as desired. This is a most important point, the means for 
 effecting it being similar in the two inventions. 
 
 The Spools and Tubes. — The spools upon which the 
 tufting material is wound are of a length sufficient to hold 
 the yarn required to form a row of tufts across the width of 
 the fabric. Attached to the spool and running parallel with 
 it is a bar fitted with as many short tubes or nozzles as there 
 are tufts in a row across the fabric. Each spool turns upon 
 journals held in a spool frame. A separate spool is required 
 for each row of tufts in the whole pattern, thus in weaving 
 a pattern of 100 rows, that number of spools is required, 
 each one being brought into its proper position to form the 
 necessary row of tufts. 
 
 Four illustrations are given. Fig. 49 shows an elevation 
 of the spool and tubes. Fig. 50 is a plan view of the same, 
 and Fig. 51 an end elevation. In Fig. 52 we give a tube in 
 
106 DECORATIVE AND FANCY TEXTILE FABRICS. 
 
 its actual size. Of course the tubes reach from end to end of 
 the spool, although they are not shown in the drawings. 
 
 The material for each tuft is wound on the spool in a belt 
 or zone. By referring to the design given in Fig. 48, and 
 taking the bottom row of the pattern, sufficient of each of 
 these colours should be arranged on a spool, in the exact 
 order here given, and these colours would come up in the 
 carpet in positions exactly as shown on the design. 
 
 Fig. 53 is a rough drawing, representing a portion of a 
 spool with dilferent coloured yarns upon it ready for use. 
 This shows clearly the manner of " setting " the yarns. Sup- 
 
 posing that in a single row of design there are four brown, 
 succeeded by four black, six blue, three black, six red, two 
 white, two green and so on ; these yarns are wound upon 
 the spool, as shown in the illustration, the four brown being 
 represented at A, the four black at B, the blue at C, the black 
 at D, the red at E, the white at F, and the green at G, to be 
 followed by other colours to the end of the row, as indicated 
 upon the design. 
 
 The use of spools gives much the same effect as that pro- 
 duced by a Jacquard, but whereas the Jacquard can mani- 
 pulate only a certain number of colours running in line with 
 each other by the system of spools, each succeeding tuft in 
 
 Fig. 52. 
 
AXMINSTER CARPETS. 
 
 107 
 
 the length of the pattern might be of varying shades. The 
 absence of restriction in the manipulation of colours forms a 
 distinct advantage over Brussels and Wiltons, enabling colour 
 effects to be easily produced, which in these cases could only 
 be attained with imperfect results, even after the exercise of 
 great care and ingenuity on the part of the designer. 
 
 When tubes are prepared for use, the ends of the tufting 
 materials from the spools are passed through and protrude 
 sufficiently from the tubes, H, as indicated by the dotted 
 lines in Fig. 53, usually for about an inch — ready to be en- 
 gaged by the warp of the fabric. 
 
 The Spool Chains. — In order that the spools may be 
 
 Fig. 53. 
 
 held and presented in their proper order to the mechanism 
 which takes them and introduces the ends of the tufting 
 materials between the warp threads, two parallel chains are 
 provided. These chains are endless, and pass round sprocket 
 wheels, secured to a shaft supported by the frame of the loom. 
 These chains are long enough to hold as many spools as are 
 required in the weaving of any particular pattern. Each 
 spool is taken from the chain in succession by the aid of 
 transferring arms, and placed in position over the warps, 
 and, after use, is returned to its original place upon the 
 chains. 
 
 Waep and Weft. — The spools are presented to the 
 
108 DECOEATIVE AND FANCY TEXTILE FABRICS. 
 
 warps with, in the case of the first invention, their tubes in 
 horizontal position, and are then rocked so as to turn the 
 ends of the tufting yarn down between the warp threads. 
 After the ends of this tufting yarn have been introduced 
 between the warp threads, a shot of fine filhng is introduced 
 into the shed to secure and fasten the ends of the tufting 
 materials, after which these ends are turned backwards and 
 upwards by means of a comb, previous to the introduction 
 of a shot of coarse filling. In the case of the second invention 
 the spools take a slight sideway movement, which lays the 
 tufts across the spaces between the warp yarns ; hooks then 
 protrude through the warp from underneath and draw the 
 tufts down through it, when a binding shot is introduced. 
 The tufts are next turned upwards by the aid of a brush, 
 and another binding shot is introduced. 
 
 Returning to the first invention, the filling is wound upon 
 two bobbins or cops. These are set at opposite sides of the 
 loom, in convenient positions, to permit the filling to pass to 
 the devices which act upon it. It is passed across the loom 
 through the open shed by means of a reciprocating weft 
 carrier. Two loops of weft or filling, one from each side of 
 the loom, are passed through each shed that is opened. Thus 
 both selvages are made secure, although the weft is intro- 
 duced in the form of a loop. The same weft carrier passes 
 the weft from both sides of the loom. There are two warps 
 — one fine and one coarse — and, by a suitable arrangement, 
 these are presented to the weft carrier in the order required. 
 There are fine and coarse fillings — the former being used after 
 the insertion of the tufting material, so as to fasten it, and 
 the latter at other times. In order that the weft thread 
 introduced by the weft carrier, while moving in one direction 
 across the shed, may not move back with the carrier when it 
 moves in an opposite direction, a spring weft finger is pro- 
 vided at each end of the lay to hold the end of the loop (warp). 
 
AXMINSTEE CARPETS. 
 
 109 
 
 When the lay retrogrades after beating up the filling, the 
 weft fingers withdraw from the loop. 
 
 Cutting THE Tufts. — In the " Smith and Skinner" 
 invention, the cutting of the tufts is performed by a disc- 
 cutter, which turns upon its central axis as it moves back- 
 wards and forwards across the loom. This disc-cutter 
 operates in connection with a fixed blade, having a long 
 cutting edge, so that it may perform the double object of 
 cutting and supporting the tufting material for the action of 
 the disc-cutter. The latter and the fixed blade are so ar- 
 ranged as to enable them to be moved out of the way of the 
 spool frame at the time the latter is moved to the warp, and 
 to be returned into position again after the spool frame has 
 been moved back. The fixed blade and disc-cutter are so 
 connected with the loom frame as to have a reciprocating 
 movement towards and from each other, and the position of 
 the tufting yarns is intermediate between the positions of 
 the two cutting implements, when they are farthest apart. 
 
 In the "Skinner and Tymeson " invention, a different 
 method of cutting the tufts is employed. The cutters consist 
 of two shear blades arranged crosswise of the loom above the 
 warp. The front or upper cutter has a straight edge and is 
 arranged at right angles to the warp. It has a simple back- 
 ward and forward movement. The back cutter, which has 
 preferably a curved edge, has a peculiar movement, having 
 the effect of causing a small portion of each one to be in 
 action at any time. 
 
 AxMiNSTER Designs. — The principal features of the 
 royal Axminster carpet loom have now been described 
 with the spools, the tubes, the spool chains, the warp and 
 weft, and the cutting of the tufts ; with the shearing and 
 finishing of the fabric, the carpet is complete. In reference 
 to the arrangement of colours nothing can be said more than 
 has been already stated. There is much scope for the skilful 
 
110 DECOEATIVE AND FANCY TEXTILE FABEICS. 
 
 designer with a taste for colour effects, to produce really- 
 beautiful patterns, as is evidenced by the tasteful fabrics one 
 sees exhibited in the windows of carpet stores. The design 
 given in Fig. 48 is defective, from inability to introduce more 
 colours in a black and white engraving. 
 
 The particulars as to the " pitch " or size of patterns vary 
 greatly, as patent Axminsters are made with four, five, six, 
 seven and even up to twelve shots to the inch, in both three- 
 quarters wide carpeting and bordered squares. Eoyal Ax- 
 minster is woven with five and seven shots to the inch, and 
 with seven reeds to the inch in both qualities, the latter 
 quality being known as the '* aristo ". The example — Fig. 48 
 — is designed for this fabric. 
 
CHAPTER XI. 
 
 DAMASK AND TAPESTEY FABRICS. 
 
 In preceding chapters, various classes of carpets, namely, 
 Brussels, tapestry, ingrain and Axminster, have been dealt 
 with ; the consideration of other fabrics of an ornamental 
 nature now claims attention. Equally as important as those 
 already treated upon is a variety of beautiful cloths for 
 upholstery and general decorative purposes. In this class, 
 first worthy of notice are damasks and tapestry fabrics. 
 Worsted damasks were at one time much used for hangings, 
 table covers and furniture upholstery, but they have been 
 superseded by what are considered more effective fabrics, 
 although there is still an extensive trade done in them. 
 Linen damasks for table linen, towels, etc., have not, so far, 
 encountered a rival, neither have the beautiful and delicate 
 silk damasks, which will always meet with a steady demand, 
 their extremely rich appearance and general excellence for 
 hangings and upholstery purposes ensuring them favour with 
 those able to afford high-priced fabrics. There are also 
 damasks of low quality, such as those composed entirely of 
 cotton. 
 
 Worsted damasks appear to have given way in popular 
 favour to the more effective cloths known as tapestry, in 
 which, owing to the fondness of the public for colours, a 
 large trade is done in window curtains, table covers, furniture 
 coverings, etc. The skilful use of colours assists the designer 
 in his work, and, by their aid, he is able to produce patterns 
 
112 DECOEATIVE AND FANCY TEXTILE FABRICS, 
 
 of a striking character, and, in this particular class of fabric,, 
 every possible roeans is adopted in order to utilise them to 
 their fullest extent. In Brussels carpets, the designer is re- 
 stricted to the planting of colours in the warp, but in tapestry 
 
 Fig. 54. 
 
 fabrics both warp and weft are often so treated for this pur- 
 pose. These fabrics have held the field for a great number 
 of years, but have, of course, been subject to the fluctuations 
 of fashion and to competition with other cloths. When the 
 popularity of Paisley shawls became a thing of the past, 
 
DAMASK AND TAPESTEY FABEICS. 
 
 113 
 
 many manufacturers turned their attention to tapestry 
 fabrics, large quantities of which were manufactured in the 
 Paisley factories. But, in time, the same manufacturers 
 deemed it advisable to make another change. It is not in- 
 tended, however, to give the history of the trade in these 
 cloths, but to deal with them as occupying a prominent 
 position amongst ornamental textile fabrics, and for which 
 there is and always will be, from their high decorative 
 character, more or less of a demand. 
 
 Linen damasks, as every one is aware, are prominent 
 fabrics for household use. It is impossible to conceive any- 
 thing more suitably adapted for the purposes for which they 
 are employed. Their purity of appearance, combined with 
 their durabihty, renders them indispensable for table use, 
 and the possibility of their being superseded by any other 
 fabrics in the estimation of the million is remote. 
 
 In this chapter, a few particulars of use to the designer 
 and student will be given, first, upon damasks, and, secondly, 
 upon tapestry fabrics, illustrating the remarks in a suitable 
 manner, as in previous chapters. 
 
 DAMASKS. 
 
 In treating upon damasks, it is not necessary to enter 
 fully into the subject of the loom and Jacquard, as this has 
 already been done in the chapter upon the "Jacquard 
 Machine". The remarks will therefore be confined to the 
 fabrics themselves, and illustrations will be given so that the 
 learner will be able to thoroughly understand the observa- 
 tions. 
 
 Some seven centuries ago, fabrics were extensively 
 manufactured in Damascus, and were in great demand in 
 all countries. But these textures were composed of silk, and 
 ultimately the trade came to recognise any silken fabric as a 
 damask. In the present day, the name is appHed not only 
 to those of silk, but also to those of worsted, hnen, cotton, 
 
 8 
 
DECOEATIVE AND FANCY TEXTILE FABEICS. 
 
 etc. The design given in Fig. 54 is specially suited for a 
 damask, but more particularly for those of linen and worsted. 
 In the chapters on "Hints on Designing Fabrics," the 
 patterns Figs. 10, 14 and 15, are specially suitable for silk 
 damasks. 
 
 DAMASK DESIGNS. 
 
 In working out the design given in Fig. 54, the first con- 
 sideration is, of course, the size which it must assume when 
 woven, this being regulated by the fineness of the reed, etc. 
 Having decided this question, sketch the design upon ruled 
 paper and carefully paint it in, after which/bind the figure 
 and ground in a suitable manner. This might be done by 
 means of a twill, such as the one given in Fig. 55, wherein 
 
 Fig. 55. Fig. 56. 
 
 the weft intersects the warp at every fifth thread. But twills 
 produce a diagonally lined appearance of the cloth, more or 
 less minute according to the coarseness of the twill, it is 
 true, but sufficiently noticeable to be objectionable for 
 regular use. Hence recourse is had to the use of broken twills 
 or satins. In these, the warp threads intersect the weft 
 threads in irregular succession, thus producing the smooth, 
 even face so admired in satin and damask fabrics. Those most 
 commonly in use are from five to eight shafts, shown in 
 Figs. 56 and 57. When weaving the pattern given in Fig. 
 54 in a common quahty, the figure and ground should be 
 dotted with a five shaft (Fig. 56), but if for a good quahty 
 the eight shaft would be used (Fig. 57), because, the yarns 
 bemg much finer, a closer dotting is not necessary. In these 
 
DAMASK AND TAPESTEY FABEICS. 
 
 115 
 
 figures, the white dots represent the figure and the black 
 dots the ground. The next consideration is the prevention 
 of floats in the veins of the leaves and flowers and in the fine 
 hues in the ornament. This may be done wherever required 
 by a special dotting, which will fit in nicely with the figure 
 and ground satin. 
 
 Fancy Effects.— Having briefly referred to the most 
 simple method of drafting a ruled paper, this in combination 
 with fancy effects must be considered. In Fig. 58 is a 
 
 Fig. 59. 
 
 weave known as a Swansdown crepe, which might be used 
 independently for figure and ground, or in combination with 
 a satin effect— for instance, a five shaft satin figure and a 
 crepe ground, or vice versa. Taking Fig. 54, the crepe dotting 
 could be introduced within the scroll, which comes between 
 the flowers. 
 
 In Fig. 59, another fancy weave is given, which might 
 be employed alone for figure and ground, or in combination 
 with one of the others. The weave shown in Fig. 60 pro- 
 duces a very pretty fabric, when used with a satin. Sup- 
 
116 DECOEATIVE AND FANCY TEXTILE FABEICS. 
 
 posing a designing for a linen damask was claiming attention, 
 and a scroll pattern was employed such as that given in 
 Fig. 14 ("Hints on Designing Fabrics"), a five shaft satin 
 might be used for the scroll, and this fancy weave (Fig. 60) 
 for the ground. In this case the scroll must be edged com- 
 pletely round, that is, must have an outHne. This forms a 
 cut-off between figure and ground, and at the same time 
 adds to the effectiveness of the fabric. This weave could 
 be suitably employed within the scroll between the flowers 
 m Fig. 54. Should another pattern consist of a large leaf 
 within a circle, this being, of course, repeated at intervals to 
 form the full design, we could have the fancy weave. Fig. 60, 
 
 Fig. 60. 
 
 for the ground, and the leaf dotted a five shaft satin, whilst 
 the ground of the circle would also be dotted a five shaft 
 satin, the leaf and ground being treated as ordinary figure 
 and ground dotting. To be more explicit— the leaf should 
 be painted in colour, the ground of the circle being left white, 
 and the fancy ground weave in the colour used for the 
 leaf. 
 
 There is an almost endless number of combinations which 
 may be used in designing for hnen, worsted and silk damasks, 
 but they must be left for the consideration of the intelhgent 
 student. One point that may be mentioned relates to the 
 manner of drafting, so as to produce the best possible effects, 
 apart from combinations of weaves. If there is a scroll 
 
DAMASK AND TAPESTEY FABRICS. 
 
 117 
 
 pattern, in which one portion of the scroll crosses over 
 another, in some cases it would be advisable to run in a 
 close dotting on the under portion, immediately against that 
 which crosses it. This would have the effect of sinking the 
 under and raising the upper portion, which would produce 
 clearness in the formation of the pattern. The same idea 
 might be adopted with leaves over-wrapping each other, or 
 with leaves partly covered by flowers, but the numerous cases 
 in which this or some similar plan might be carried out with 
 advantage will be readily understood. 
 
 Silk damasks offer more compHcations than either worsted 
 or hnen, because more is done in the way of colour. For 
 instance, if the pattern given in Fig. 10 (" Hints on Design- 
 ing Fabrics") is used, the figure would be in brown satin, and 
 the ground in gold. The figure would be made with a silk 
 warp, and the ground, end and end weaving, that is, alternate 
 shuttles, of gold and brown, the former only showing on the 
 surface. The yarns being much finer than those employed 
 for other damasks would probably necessitate the use of 
 about 250 ends per inch, and dottings up to sixteen shafts 
 or so could be used. Besides, there are fabrics in which the 
 figure is woven in various colours, and many fancy effects 
 are introduced— diamond, basket, lozenge, etc., such as those 
 figured later in tapestry fabrics, being employed with good 
 results. 
 
 This subject has not been fully dealt with, but enough 
 has been said to enable the inteUigent student to grasp the 
 methods employed in the making of damask fabrics. 
 
 TAPESTEY FABRICS. 
 THE LOOM AND JACQUARD. 
 
 The chief feature of the manufacture of tapestry fabrics 
 consists of the appHcation of the Jacquard machine, together 
 with the box loom. This loom is familiar to all having the 
 
118 DECOEATIVE AND FANCY TEXTILE FABRICS. 
 
 slightest knowledge of weaving, and, for that reason, it will 
 be enough to mention the fact that the boxes are arranged 
 upon a rising and falling or upon a circular principle, each 
 one receiving a shuttle containing a different coloured yarn, 
 which the manufacturer or colourist may wish to use in the 
 production of a pattern. This may be said to be the first 
 principle in procuring the varied and beautiful colour effects 
 which lend so much charm to the better qualities of tapestry 
 fabrics. But the box loom permits a manufacturer to go so 
 far and no farther in the attainment of his object, and there- 
 fore many and varied are the means employed to satisfac- 
 torily overcome difiaculties in the arrangement of colours, and 
 it is only after repeated trials that certain desired effects are 
 produced. The frequent changing of shuttles, beyond those 
 which the boxes themselves will effect, is often resorted to, 
 but this, in many cases, necessitates extensive alteration to a 
 design, and the consequent re-stamping of cards, in order to 
 attain the end at which he aimed. Extra colours may cause 
 a design to assume a Hney or stripey effect, and whenever 
 this defect is apparent means must be employed to obviate it. 
 
 In the case of comphcated patterns, where the changing 
 of the shuttles does not give a satisfactory result, the mani- 
 pulation of the warp must be resorted to. This may be done 
 by single, double, and triple warp arrangements, and also by 
 what is known as " end and end " effects, which we shall 
 mention later. 
 
 TAPESTRY DESIGNS. 
 
 The first consideration in designing for tapestry fabrics is 
 the size of the design required. The usual width of woven 
 tapestry is six-quarters and eight-quarters, that is, 54 in. and 
 72 m. For weaving a 54 in. cloth, the harnesses are tied 
 up in divisions for weaving patterns of 6^, 9, 10|, 13 and 26 
 inches, respectively. ' "When tied up for centre patterns, such 
 
DAMASK AND TAPESTRY FABRICS. 
 
 119 
 
 as Fig. 10, in Hints on Designing Fabrics," a 6^ division 
 will produce a 13 in. pattern ; the same will apply to the 
 other widths, viz., 9, lOJ, 13 and 23 inches. There are cases 
 in which other sizes of patterns are used, but these are to 
 meet some special demand, when the manufacturer and de- 
 signer must work in unison, the former having his harness 
 tied up in a suitable manner, and the latter adapting his 
 design upon ruled paper to suit this tie-up. 
 
 In drawing a sketch for a pattern for a 54 in. cloth, the 
 designer must, therefore, conform to one of the sizes ; in other 
 words, he must make the width of his repeat 6|, 9, 10|, 13 
 or 26 inches, as may be required. In the length of repeat 
 there is no restriction, providing it be kept within reasonable 
 bounds. The sketch, previous to being drafted upon ruled 
 paper, is highly coloured, in order to be an exact representa- 
 tion of what the cloth must be when woven. The shuttling 
 and warping arrangements are all indicated, and considered 
 from a weaving point of view. The sketch is then passed to 
 the drafting designer, whose business it is to work out the 
 pattern upon the ruled paper, from which the cards for the 
 Jacquard machine are stamped. 
 
 The successful tapestry designer must be possessed of 
 much originaHty of idea, combined with skilful powers in the 
 use of his pencil and brush. As a colourist, his imagination 
 must be of no mean order. A well-formed pattern may be 
 ruined by indifferent colouring, and the most artistic colour 
 effect may be equally spoiled by defective drawing. And 
 thus, the best designer is he who possesses a combmation 
 of these necessary quahfications. The student who desires 
 to enter upon the study of designing for tapestry fabrics will 
 find much in " Hints " given in the earlier chapters that will 
 be of service to him, as many of the patterns described and 
 figured there might fittingly be introduced into this chapter. 
 The straight-over repeat, the drop pattern, the centre or 
 
120 
 
 DECOEATIVE AND FANCY TEXTILE FABEICS. 
 
 reverse pattern, the reverse drop pattern, the border, table 
 cover, and dado curtain designs are all examples of those in 
 daily use in the tapestry fabric trade. 
 
 CoNSTEUCTioN OF Cloths.— In the manufacture of tapes- 
 try fabrics an almost endless amount of information might 
 be written, but this would only lead to such comphcations as 
 none but experienced minds could be capable of understand- 
 mg, and thus the object in view would be defeated, viz., the 
 rendering of these chapters as simple as possible. 
 
 Plain Pick and Pick— Probably the simplest formation 
 of a tapestry is a cloth similar to an ordinary damask, but 
 with an extra shuttle thrown in, that is, two wefts and a 
 warp. The design shown in Fig. 61, consisting of flowers 
 and leaves, will form an example for the better understanding 
 of our observations. Supposing the two wefts were maroon 
 and green, the maroon shuttle would be utilised wherever 
 required to make the flowers, whilst the green would go to 
 the back, by the hfting of the warp, which would be arranged 
 for upon the Jacquard cards. The maroon and green run 
 alternately, and that which is intended to float on the face 
 must not have the warp threads hfted. It will thus clearly 
 be seen that when the maroon shuttle runs, the warp must 
 lift on the leaves, and where the green shuttle runs, the warp 
 must lift on the flowers. In this case the warp would make 
 the ground, which would probably be dotted five or eight 
 shaft satin, or a fancy effect could be used, as would be found 
 most suitable, according to the tightness of the cloth required, 
 which would also have the effect of fastening up the two 
 wefts floating on the ground at the back of the cloth. 
 
 This may be described as the rudimentary principle of the 
 construction of a tapestry fabric. Having grasped this, it 
 will be easily seen how it may be further employed for the 
 utilisation of three or more shuttles. It is, however, seldom 
 that manufacturers go so far without resorting to the use of 
 
DAMASK AND TAPESTRY FABRICS. 
 
 121 
 
 "two or more warps, as these being upon the beam do not 
 take up time, as is the case in the travelHng and picking of 
 ■shuttles. 
 
 End and End with Pick and Pick. — It will be seen what 
 effect may be produced in the design shown in Fig. 61, by 
 using three warps of red, citron and maroon cotton. The 
 ground should be made with a shuttle of maroon worsted. 
 
 Fig. 61. 
 
 :and the leaves with a shuttle of green worsted. The red 
 would be used for the flowers, and the citron to light up these 
 ■and the leaves. The maroon warp should be used with the 
 object of tying down the maroon worsted ground, say, with a 
 five shaft satin. By this means a spotty appearance would 
 be avoided, such as would result from the use of a lighter 
 •.shade, and a worsted weft ground of a good soHd colour, 
 
122 DECOEATIVE AND FANCY TEXTILE FABBICS. 
 
 bound by a thin cotton warp of the same shade, would be< 
 produced. 
 
 In the ruled-paper drafting of this it is necessary to con- 
 sider how these ends of warp are tied up, and design for them 
 accordingly. Supposing a 600 Jacquard is in use, and the 
 harness is tied up for a 10| in. repeat, the warp would be- 
 divided into three parts of 200 ends of each colour, as follows : 
 200 ends red, 200 ends citron and 200 maroon. This is the 
 "end and end " principle before mentioned. In order that 
 the card stamper may know how to cut his Jacquard cards^ 
 it would be needful to show upon the ruled-paper designi 
 three distinct colours, worked according to the sketch, but 
 these colours would be on different ends, thus — the red for 
 the flowers, and the citron for the lighting up of the flowers, 
 and leaves by upright lines, the former on the first, fourth, 
 seventh and tenth ends, and the latter on the second, fifth, 
 eighth and eleventh ends, and so on across the width of the- 
 pattern, whilst we should use the third, sixth, ninth and. 
 twelfth ends for the binding of the ground in maroon, and. 
 also for the green weft. See the examples given in Figs. 62, 63' 
 and 64. 
 
 It must be understood that, in following these diagrams,, 
 two shuttles are represented by one square. The diagrams,, 
 simply for illustration, show 12 ends and 12 picks. Th& 
 12 picks really mean 12 of maroon and 12 of green, each of 
 the shuttles picking 12 times. This observation is necessary 
 in order to understand how the combinations are formed.. 
 To get the utmost value out of a cloth and to show how far 
 these combinations may be carried--^and are carried in many 
 of the cheaper continental cloths — the method may be pointed 
 out of combining the wefts with the warps, so as to produce- 
 what cretonne manufacturers understand as super -position, 
 but which in tapestry fabrics scarcely approaches the same 
 satisfactory results. This arrangement is known as a " tabby,'" 
 
DAMASK AND TAPESTRY FABRICS. 
 
 123 
 
 that is a half-and-half effect, or equal portions of warp and 
 weft up and down. Therefore, if the red flowers were to be 
 shaded (warp) on the under and darker side, the lines one, 
 four, seven and ten should be dotted every other pick, alter- 
 nately, in the colour representing the maroon shuttle, as 
 shown in Fig. 65 by the x , the first and seventh ends, with 
 the fourth and tenth ends. This would produce a shaded 
 sunken effect for the shadows of the flowers, i.e., a shade 
 between the red and the maroon. 
 
 . Fig. 62. Red. 
 
 Fig. 63. Citron. 
 
 
 
 
 
 
 
 
 
 _ 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 _ 
 
 1 
 
 
 — 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 — 
 
 
 
 1 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 = 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 Fig. 64. Maroon. 
 
 Fig. 65. Fro. 66. Fig. 67. 
 
 Now apply the same idea in the shading of the darker 
 side of the leaves, reversing the warp and weft. As in the 
 case of the flowers, the red is the warp, and consequently a 
 mixture of two colours is obtained by. adding the maroon 
 weft for binding purposes, for the making of good cloth. As 
 the foundation of the leaves is green weft, the maroon warp 
 is added, which means that each pick marked -1- is dotted 
 alternately on the third and the ninth, and the sixth and the 
 twelfth ends, as in Fig. 66. Whilst engaged upon the green, 
 weft of the leaves and as the warp is hght citron, which is in 
 
124 DECOEATIVE AND FANCY TEXTILE FABEICS. 
 
 shade lighter than the green, it readily suggests itself for the 
 lighting up of the green leaves. This would be worked in 
 the same way, bringing up the ends occupied by the citron, 
 viz., the second, fifth, eighth and eleventh, in Fig. 67. 
 
 So far, effects produced by the combination of warps tied 
 by wefts have been dealt with, but other combinations are 
 adopted by mixtures of the two warps floating down the first, 
 third, fifth and seventh picks, as may be considered neces- 
 sary, in order to produce a particular appearance or handle of 
 
 
 
 
 w 
 
 
 
 
 ■1 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 j j 
 
 
 
 
 1 1 
 
 
 
 
 
 
 
 
 j' 
 
 
 
 
 1 
 
 
 
 Fig. 68. 
 
 Fig. 69. 
 
 Fig. 70. 
 
 XXX 
 
 Fig. 71. 
 
 the cloth. This is a point which must always be considered 
 in the application of various methods. 
 
 In the foregoing diagrams, we have illustrated the use of 
 the warp separately. Now let us use the double ends, as 
 such has become the invariable treatment in low and medium 
 quality tapestries, by which means, many very happy arrange- 
 ments of colours can be produced. Thus the citron and the 
 red running together on the first, second, fourth, fifth, 
 seventh, eighth, tenth and eleventh ends, as shown in Fig. 
 68, would vary the flatness of a field of one colour, and would 
 
DAMASK AND TAPESTEY FABRICS. 
 
 125 
 
 tend to lighten the flowers in the opposite direction to the 
 shadows produced by the maroon — pick and pick with the 
 end and end, whilst working on the second, third, fifth, sixth, 
 eighth, ninth, eleventh and twelfth ends, as in Fig. 69, a 
 darker shade of citron. 
 
 These combinations must always be considered with 
 special reference to the most appropriate manner of binding, 
 and this should be regulated by the type of figures in the 
 design and by the space to be covered. If this latter be fairly 
 large, many fancy effects may be adopted, such, for instance, 
 as the diamond, lozenge, basket, etc., examples of which are 
 given in Fig. 71. But we must always remember that these 
 forms must, in all cases, be subservient to the length of float 
 required for the making of a good fabric. 
 
 Binding the Back. — The next consideration is the 
 binding of the fabrics, in order to prevent long ends of warp 
 floating. The usual method of accomphshing this is to run 
 a special dotting on the face, an intermediate one running 
 between those already in use, as shown in Fig. 70. This 
 should be indicated in the opposite colour to that which is 
 used for the dotting of the warp upon the face, the dotting, of 
 course, covering every square or end downwards, excepting 
 the one which is immediately up, whilst in deahng with the 
 ground colour, this particular end would be used for the face, 
 and a twill or intermediate dotting would be employed on the 
 other two ends, with the opposite shuttle to that working 
 where the ground comes. 
 
 Striped Warps. — In tapestry fabrics, many very artistic 
 effects are produced by striping or planting colours in one of 
 the warps. For instance, taking the design given in Fig. 61, 
 we might bring up the two large flowers — which are placed 
 side by side — in different colours, shading each flower inwards, 
 which would enable us to get some touches of another shade 
 for the smaller flowers immediately under the larger ones. 
 
126 DECOEATIVE AND FANCY TEXTILE "FABEICS. 
 
 By a careful manipulation of a planted warp, a good colour 
 effect could be produced throughout the design, which would 
 be further enhanced by the changing of the shuttles. 
 
 The principles treated upon in this chapter are all open to 
 variation, and the intelligent manufacturer and manager are 
 continually studying to extend upon them, in order to produce 
 novel and good selling effects. Much of the success of tapes- 
 try manufacturers depends upon the manipulation and exten- 
 sion of these principles, which can only be accomplished 
 through the possession of a thorough knowledge of the capa- 
 biUties of the looms at their service. 
 
CHAPTER XII. 
 
 SCARF SILKS AND EIBBONS. 
 
 As it is intended in these chapters to give information upon 
 all classes of ornamental textile fabrics, it is proposed now to 
 deal with the manufacture of silk, treating upon neckties, 
 scarfs, ribbons and dress fabrics in the order here given. 
 But on entering the last-named branch of the subject, it 
 will be hardty possible to separate it from dress fabrics made 
 from other varieties of yarns, so closely do the methods 
 employed in the designing of the cloths resemble each other, 
 therefore these tissues will be considered in a separate 
 chapter. 
 
 The silk industry is one of great antiquity, the rearing 
 of silkworms and the reeling of silk having been practised 
 as far back as 2640 B.C. It was, however, owing to the re- 
 vocation of the edict of Nantes, about 1680, that a great 
 number of French artisans settled in Spitalfields commenced 
 hand-loom weaving, which flourished, and has continued 
 with more or less varying fortune down to the present day. 
 The silk trade extended to other places, notably, to Coventry, 
 Macclesfield, Leek and Congleton, and, although power- 
 loom weaving has superseded hand-loom, yet with the 
 Spitalfields' weavers the latter holds the field. The ma- 
 jority have looms in their own homes, and may be seen any 
 morning, with bags upon their shoulders, bringing their 
 finished pieces to the city or returning with a fresh supply 
 of warp and weft. But it is a dechning industry, and, ere 
 
128 DECOEATIVE AND FANCY TEXTILE FABRICS. 
 
 long, may be a thing of the past, and yet some lovely fabrics- 
 are made in the district, and one or two London firms are 
 noted throughout the whole range of the trade for the 
 artistic beauty of their productions. 
 
 Simpler in design, but not less perfect as fabrics, are 
 the scarf and necktie silks, which these Spitalfields' weavers 
 produce, and which form the first item for treatment in 
 this chapter. 
 
 SCARF AND NECKTIE SILKS. 
 
 The silks most popular for scarfs and neckties are the 
 satin, the matt and the ottoman, in each of which is much 
 scope for pretty effects, and in dealing with them, such 
 drafts and particulars as may be necessary to effect our pur- 
 pose will be given. Before doing so, however, it is neces- 
 sary to say a few words on the machinery used by the 
 Spitalfields' weavers, passing over the loom, the Jacquard, and 
 the harness, about which there is nothing special to be 
 stated, yet there is one machine in use in this and in some 
 other branches of the silk trade which, from its antiquity, 
 requires mentioning — this is the reading-in machine. 
 
 The Eeading-in Machine, — The machines commonly 
 used for the purpose of preparing the Jacquard cards are 
 well known, but there is one of which, probably, very few 
 of our readers know anything, as it has long ago been super- 
 seded by much superior inventions : it is now thoroughly 
 out of date. Eoughly speaking, this machine consists of a 
 stout, upright framework of wood. To the front are two 
 side-posts or uprights. Now imagine an endless warp of 
 thin but strong cords suspended between the uprights and 
 running under two rollers, placed at the bottom of the 
 machine. These cords then pass up the back of the ma- 
 chine and across the top, where Hngoes are hung, similar 
 to those used in a Jacquard. Eunning down each side-post 
 
SCAEF SILKS AND EIBBONS. 
 
 129 
 
 is a stronger cord, which, for description, may be called 
 the selvage cords. The selvage cord to the left hand of the 
 operator has strung upon it a quantity of cords knotted 
 together in lots of eight — that is, supposing the design paper 
 most commonly used is 8 X 8. These cords may be called 
 the weft. There are thus warp and weft cords. Then 
 there are needles, as in a Jacquard machine, as many of 
 these being employed as there are warp strings. The latter 
 are suitably connected with the needles. A punch box is 
 perforated on its face — the. number of holes corresponding 
 to the number of needles. Each of the holes contains a 
 punch, all of which work in unison with the needles. At 
 each side of the box is a peg upon which the punch-plate 
 slides, face forwards, into close contact with, the box. The 
 warp threads are divided by a comb into lots of eight each, 
 and, to further facilitate matters, two rods are inserted 
 crosswise of the warp threads. 
 
 The operator sits in front of the machine, his ruled paper 
 suspended before him, a movable straight edge indicating 
 the particular point upon which he is working. 
 
 As he reads the pattern off, he picks out the required 
 warp strings with the fingers of his right hand, passing 
 them on to his left, where they are held until divided from 
 the remaining strings by cross or weft cords. When eight 
 rows have been read in, the whole eight are knotted to- 
 gether upon the selvage string to the right hand. In this 
 manner, all the design is read in by the interlacing of the 
 strings representing warp and weft. In the next step cer- 
 tain adjustments of the machine are required, and the cut- 
 ting of the cards commences. Each of the weft strings is 
 operated upon separately. Taking up the first string, we 
 insert a roller in its place, which, in its turn, operates in 
 connection with a lever arrangement, and upon depressing 
 which, we draw the warp strings tight : this has the effect 
 
 9 
 
130 DECORATIVE AND FANCY TEXTILE FABRICS. 
 
 of shooting the required punches into the plate fitted against 
 the punch box. The plate is then operated upon by any- 
 ordinary cutting-machine, after which it is replaced against 
 the box into which the punches are returned by the aid of 
 a board, studded with pins, corresponding to the holes in 
 the plate. This operation is repeated upon every weft 
 string until the cards for the whole pattern have been cut. 
 For the repeating of cards, there is a machine constructed 
 upon similar lines, but there is no need to enter upon it 
 here. That there are variations of this reading machine 
 
 -biG. 72. 
 
 there is no doubt, but the one described has been used 
 largely for a long time. A well-known machine maker 
 states that he ceased making this apparatus twenty-five 
 years ago, and yet it is largely used in the silk trade at the 
 present day. 
 
 FIGURED SATINS. 
 Of all the varieties of weaves in use in the manufacture 
 of scarfs and neckties, perhaps the most popular is the 
 satin. They are to be seen in every hosier's window. The 
 matt or the ottoman may be conspicuous by its absence, but 
 
SCAEF SILKS AND EIBBONS. 
 
 131 
 
 never the satin. From the small spot or ball to the all-over 
 method of ornamentation, nothing is more saleable than this 
 class of fabric, when offered for the personal adornment of 
 the male sex. Fig, 72 is a design for a small figured satin, 
 in which two wefts and a warp are employed in weaving. 
 In designing these small effects, in which the figures are 
 dotted over the surface at regular intervals, it is necessary 
 to observe one point, for the demonstration of which we 
 have inserted this pattern. The figure should be so con- 
 structed that it may be clearly divided in shuttling so as to 
 produce an extra colour effect, without additional expense 
 in weft. In Fig. 72 the rosette is kept quite clear of and 
 does not overlap the two leaves under it. This pattern with 
 the leaves may be produced in, say, pale blue and the rosette 
 in pink, or some such combination, or the figure may be 
 woven entirely in one shade of colour. In drawing the 
 pretty all-over figures often seen in scarfs, the same prin- 
 ciple may be adopted, if proper care is taken in the composi- 
 tion of the pattern. In these days especially, anything 
 which can reduce the cost of an article, whilst maintaining 
 its quality intact, should receive due attention. And really, 
 in the present instance, a waste of weft is not necessary, 
 because, in the majority of cases, good and effective all-over 
 patterns can be produced, where changing of shuttles can 
 be accomplished with the best results. 
 
 In showing the drafting of a figured satin, where two 
 wefts are employed, take the example. Fig. 73, which is a 
 small ball pattern, and here, again, it may be observed that 
 the two balls are quite clear of each other, so that each may 
 be in a separate colour. This figure shows the open style 
 of drafting, i.e., pick and pick, the light dots giving the satin 
 and the black dots the figure weft binding. It will be ob- 
 served that the latter binding comes exactly in the same 
 position as the satin, or, to use a technical term understood 
 
132 DECOEATIVE AND FANCY TEXTILE FABEICS. 
 
 in the trade, the two dottings are on the same " foot ". 
 This is necessary, as, otherwise, the satin face would have 
 a broken appearance. This is the principle adopted in draft- 
 ing a pattern of this nature, whether it be a spot, a small 
 figure, or an all-over effect. But in actual practice, a more 
 
 Pig. 73. 
 
 ready method would be employed. That is, the pattern 
 would be drawn on every pick, and only the figure binding 
 would be indicated upon the ruled paper, the ground satin 
 being understood. In cutting the cards, all that would be 
 necessary would be to cut five cards for the ground satin 
 and to repeat them as many times as required for the full 
 
SCAEF SILKS AND EIBBONS. 
 
 133 
 
 design, the cards being laced alternately ground satin and 
 figure. In some branches of weaving, floating of the weft 
 on the face is specially guarded against, but, in the present 
 instance, floating often improves the beauty of the face. 
 In Fig. 73 the float is over fourteen ends, and this is not 
 too long. 
 
 A satin composed of a warp and two wefts has been dealt 
 with, but in some instances there is a ground warp as well 
 as a satin warp, in which case the figure weft should be 
 bound with the former and not with the satin warp. This 
 has the effect of keeping the satin clear of the figure weft. 
 The broad principles upon which figured satins for scarfs and 
 neckties are designed have been given, but it will be obvious 
 
 Fig. 74. 
 
 that these principles may be applied to the drafting of any 
 satin fabrics, irrespective of the scope of the design. 
 
 MATT PATTERNS. 
 
 This class of weave is much in vogue for the fabrics under 
 notice, as some very pretty effects can be produced by the use 
 of warp and weft of different shades of colour. Fig. 74 is an ex- 
 ample of a matt weave, which produces a tissue exactly alike 
 on both sides. Of course, in this pattern, the number of warp 
 and weft threads may vary according to the quality of the 
 material to be woven. With 200 ends per inch and 100 
 picks per inch, it would be necessary to draft double the 
 number of warp ends in comparison to the weft, thus 
 
134 DECORATIVE AND FANCY TEXTILE FABRICS. 
 
 requiring the use of 8 X 4 ruled paper. The same weave 
 could be drawn on a greater number of ends and picks 
 than is shown in our example, with good results. 
 
 Fig. 75 is another weave for a matt. This is a fairly 
 good specimen, and would make a saleable cloth for any pur- 
 pose where both sides are not required to be exactty the same. 
 Fig. 76 would also make a matt, but in this case the pattern 
 would be the same on both sides. The beauty of a good matt 
 lies in the floating of the warp and weft being unbroken, and 
 also m its being a perfect reversible fabric, and we therefore 
 give preference to the example in Fig. 74, but, at the same 
 time, the others will be found useful. 
 
 Fig. 75. 
 
 This class of weave has been dealt with as far as the 
 ground fabric is concerned, but many very good effects are 
 produced by introducing figures dotted about at intervals, 
 keeping, however, within the matt formation. For instance, 
 by using an extra shuttle, a diamond or a zig-zag, or other 
 small figures can be introduced which can be varied in colour 
 by a change of shuttle. Take, as an example, black and 
 steel blue for warp and weft, and a small figure with the 
 extra weft of rose pink changing to white. Further good 
 effects are obtained by the use of striped warps, bringing 
 up the squares of the matt in different colours by the aid of a 
 
SCAEF SILKS AND EIBBONS. 
 
 135 
 
 change in shuttles. Take, for instance, Fig. 74, and stripe 
 the warp alternately with five ends of tan and five of white, 
 then, in the weft, give ten picks of white and ten of steel 
 blue alternately, and a very pretty cloth is produced. The 
 same method might be employed in the production of large 
 checks or tartans, of course more colours being employed. 
 Some such weave as that given in Fig. 76 could be used with 
 a satin effect, that is a satin ground and figure in navy blue, 
 surrounded by a matt check of white and navy blue. In this 
 case the warp of navy blue would be striped by white — say 
 about 264 blue and 96 white. There would then be a change 
 of blue and white shuttles in similar proportion, resulting in 
 
 Fig. 76. 
 
 navy blue satin figure and ground, surrounded by blue and 
 white matt check, with white matt corners. 
 
 OTTOMAN PATTERNS. 
 To produce a perfect ottoman pattern, the rib should be 
 the same on both sides, and the weave — Fig. 77 — possesses 
 this quahfication. Of course, the same weave could be used 
 to produce a heavier rib, by introducing more picks. The 
 example given is known in the trade as a " four and four 
 shoot ". The dotting shown by the x indicates the use of 
 a ground warp, which is necessary in order to keep the fabric 
 flat. This ground warp may be of cotton, without in any 
 
136 DECORATIVE AND FANCY TEXTILE FABRICS. 
 
 way injuring the appearance of the face of the fabric. A 
 second weave is given in Fig. 78, which is useful for fabrics 
 to be made into ties, because it is only a one-faced ottoman, 
 whereas Fig. 77, being both sides ahke, can be used for loose 
 scarfs, that is, scarfs which the wearer folds and ties him- 
 self. 
 
 Striping and dotting are favourite methods of ornament- 
 ing ottomans. As to the former of these, weave, say, twenty 
 ribs of the ottoman in black weft, of course having a black 
 warp, then change the shuttle and throw in about twenty 
 picks of cardinal, say, a satin effect ; then a few more ribs 
 
 Fig. 77. 
 
 Fig. 78. 
 
 succeeded by another twenty picks of cardinal ; then repeat 
 the order. By this means a good striped fabric is obtained.--. 
 
 More might be said on the subject of scarf and necktie 
 silk designing, but this would require much more space than 
 we can devote to this branch of our subject, besides which, 
 we should be introducing complications that are best avoided 
 in a plain, straightforward explanation of the subject. 
 
 FANCY RIBBONS. 
 The home of the British ribbon industry is situated in 
 Coventry, where the power-loom is mainly used for the pro- 
 duction of the beautiful tissues which come from that quaint 
 and pretty city. The bulk of the weaving is done in- the 
 
SCARF SILKS AND RIBBONS. 
 
 137 
 
 operatives' own homes. But if power-looms are used, how 
 can this be ? say some. The houses are built in rows, as is 
 the case with most working men's homes. The weaving 
 " shops " are usually at the tops of the (^dwellings, a line of 
 
 "^•■^ -ill 
 
 
 
 
 
 Pig. 79. 
 
 shafting running the full length of a row, and the same gas- 
 or steam power turns the whole. Of course, there are hand- 
 looms in use, but these are for the making of narrow goods, 
 and never for fancy fabrics. The proportion of power-looms 
 
138 DECOEATIVE AND FANCY TEXTILE FABRICS. 
 
 compared with those worked by hand and treadle, is 50 to 1 
 in favour of the former. ■ 
 
 , THE RIBBON POWER-LOOM. 
 
 In Fig. 79 is an illustration of a power-loom made 
 by Mr, T. Wilkinson, The Jacquard used upon this 
 loom is an ordinary 300 machine, no special features 
 being introduced in its construction. Neither is there 
 anything unusual in the nature of the harness, which 
 is omitted from the illustration. The loom is of the type 
 known as an,/' eighteen space," that is to say, it will weave 
 eighteen ribbons at one and the same time. The harness 
 would therefore be tied up for eighteen patterns, but each 
 pattern would be complete with selvages instead of being 
 closely repeating patterns, as would be the case for any ordi- 
 nary broad goods. For each of these ribbons there are sepa- 
 rate sets of shuttles. The box motion is not used in these 
 looms, but the shuttles are arranged in tiers, run in slots, and 
 are worked by a rack and pinion motion. The front of the 
 batten, i.e., that which carries the shuttles, rises and falls as 
 required to place the latter in the desired position to be en- 
 gaged in the warp. In some looms, there are as many as ten 
 shuttles in a tier, and besides the use of these, changes are 
 often resorted to when a great number of colours are being 
 used in a design. The loom shown in the engraving, as 
 already stated, weaves eighteen ribbons at one time, but other 
 looms are made to produce from ten to twenty-four at one 
 operation. In the present instance, the fronts of the shuttles 
 are removable, to allow of other colours being placed therein. 
 It is likewise fitted with an automatic marionette, for the 
 working of the shuttles. Not only are ordinary figured 
 ribbons woven on these looms, but also book markers, hat 
 bands, coat and skirt bands, etc. A machine for reading-in 
 the patterns for the card cutting, constructed in a similar 
 
SCARF SILKS AND RIBBONS. 
 
 139 
 
 manner to the one described already, is used in the Coventry- 
 trade. 
 
 FANCY RIBBON DESIGNS. 
 
 In entering into particulars on the subject of fancy ribbon 
 designs, a few serviceable drafts will be necessary to show 
 the methods adopted in the trade for procuring various 
 effects. The weaves and instructions already given for scarfs 
 
 Ilk*?. 
 
 Fig. 80. 
 
 and neckties are equally appHcable to this branch of the silk 
 industry. There is scarcely any need to state that there are 
 the satin, the matt and the ottoman ribbons, and, moreover, 
 the information given upon tapestry and damask fabrics in 
 another chapter, might well be repeated here. There are 
 tapestry and damask ribbons, and the end and end and pick 
 and pick principles are extensively used in the trade. Warp 
 as well as weft figuring is employed, and the striping of the 
 warp is adopted in some varieties with good results. Some 
 
140 DECOEATIVE AND FANCY TEXTILE FABRICS. 
 
 floral designs show no fewer than ten changes of colour in 
 the warp in about 2| inches. In special cases, portraits and 
 pictorial effects are produced with remarkable results. In a 
 portrait, for instance, the lights and shadows are procured 
 with a delicacy of toning which is almost surprising. To 
 
 Fig. 81. 
 
 design a thing of this description is a matter of skill and 
 experience. It is quite necessary to understand the value of 
 every dot put upon ruled paper, as, for example, in a black 
 and white portrait, single grey dots representing black weft 
 would go through with white ground weft, thus producing a 
 
 Fig. 82. Fig. 83. 
 
 soft shade. Single black dots would be black weft only, the 
 warp not rising for the white ground weft. This gives a 
 darker shade. When two or more brocade shuttles are used, 
 very beautiful shading and toning effects are procured, by 
 " mixing " or passing two or more colours through the same 
 shed or lift. 
 
SCARF SILKS AND RIBBONS. 
 
 141 
 
 SOME USEFUL WEAVES. 
 
 The illustration, Fig. 80, represents a pretty style and is 
 shown in the actual size when woven. In Fig. 81 the 
 method of working the ruled paper is given. There are two 
 
 Fig. 84. 
 
 shuttles and a warp, one shuttle being used for the flowers 
 and the other for the leaves. As the draft explains, it is de- 
 signed on the pick and pick principle, with a satin ground. 
 
 Fig. 85. Fig. 86. 
 
 Some very pretty effects can be gained in this class of ribbon, 
 and shading can be obtained in the leaves and flowers by bring- 
 ing up a warp dotting, carefully manipulated. A delicate 
 
 Pig. 87. Fig. 88. 
 
 fabric would result from the employment of a white warp 
 ground, the leaves in a yellowish green, and the flowers in a 
 salmon pink. A more serviceable result would ensue from 
 
142 DECOEATIVE AND FANCY TEXTILE FABEICS. 
 
 the use of a black ground, with the leaves in tan and the 
 flowers in steel blue. 
 
 In Fig. 82 is shown a weave for a terry or ribbed fabric. 
 This is usually made with two shuttles, a fine weft being 
 used for the single pick ( x ) and a coarser one for the remain- 
 ing three picks. This could be employed in combination 
 with many fancy effects, with good results. Fig. 83 gives a 
 double satin weave on sixteen shafts. This weave, as its 
 name implies, produces a satin effect, both sides of the cloth 
 being the same. Fig. 84 is for a satinette, also reversible. 
 There are many other weaves used in the ribbon trade, but 
 those already noticed will be found sufficient, as they represent 
 the most common. It must be understood that the satin, 
 the matt and the ottoman, illustrating the remarks on scarfs 
 and neckties, are, as previously stated, included in the list of 
 those given for and used in the ribbon trade. 
 
 EDGING WEAVES. 
 
 As no treatise on the methods of constructing ribbons 
 would be complete without some reference to the composition 
 of the edgings or selvages, a few drafts are given showing 
 the principal styles in use. Fig. 85 is what is known as a 
 two-cord, or pull-over edge, and is generally adopted in one- 
 sided fabrics, that is, tissues which are not reversible. The 
 warp floats on the face only, but is partly pulled over by the 
 weft on returning, which is done when the whole of the warp 
 in the edge lies down. Fig. 86 is a four-cord edge, and is 
 the same on both sides. It is, therefore, used for reversible 
 ribbons. Fig, 87 is a one-sided bead edge, and is much the 
 same as Fig. 85, but looks richer, on account of the warp 
 floating longer. Fig. 88 is also a bead edge, but two-sided, 
 that is, the same on both sides of the fabric. 
 
CHAPTER XIII. 
 
 SILK HANDKERCHIEFS. 
 
 In the last chapter necktie silks and ribbons were dealt 
 with ; silk handkerchiefs come next. As most people of 
 average intelligence are aware, Macclesfield is a centre of 
 the silk industry, some eighty firms being engaged in the 
 manufacture in that town. An immense quantity of hand- 
 kerchiefs are made there, and many beautiful patterns and 
 delicate textures owe their origin to the designers and 
 workers in that Cheshire town. 
 
 SILK HANDKERCHIEFS. 
 
 Much of the information already given on scarfs and 
 ribbons is applicable in discussing the subject of silk hand- 
 kerchief designing. It is exceedingly difficult to separate 
 one particular class of silk fabric from another, as the various 
 methods of obtaining desired effects, the weaves employed, 
 etc., etc., are commonly used in every case. Hence, much 
 of the substance of the last chapter might be repeated here. 
 Indeed, to be complete, it would be necessary to begin with 
 the twill and satin weaves, introduced in the chapter on 
 " Damask Fabrics," continuing with the figured satins, the 
 matts, the ottomans, the terry or rib, and the edgings, given 
 in the remarks upon scarfs and ribbons. All such weaves 
 are useful in the designing of silk handkerchiefs, and com- 
 binations of them tend to the production of very effective 
 fabrics. Examples of handkerchief designs are given next 
 with ruled-paper diagrams, showing the method of drafting 
 most suitable for the production of good and effective tissues. 
 
144 DECOEATIVE AND FANCY TEXTILE FABEICS. 
 
 A HANDKERCHIEF DESIGN. 
 
 The first example, Fig. 89, is offered as a suitable design for 
 a one-coloured handkerchief of white, cream, pale blue, pale 
 salmon, or of any dehcate shade. The main portions of the 
 figuring would behest produced in a satin weave and the ground 
 in a four-shaft twill. The various fancy effects introduced in 
 
 Fig. 89. 
 
 the figuring tend to add to the effectiveness of the pattern, but 
 it is impossible to show these upon the ruled-paper example 
 in Fig. 90, as to give the whole would occupy too much 
 space. The design, Fig. 89, is, however, carefully worked 
 out, and the student who desires to make the attempt should 
 not have much difficulty in drafting the full pattern upon 
 ruled paper with advantage to himself. In this task, the 
 
SILK HANDKERCHIEFS. 
 
 145 
 
 particulars given in these paj^es upon silk designing will be 
 of considerable help to him. So much for the centre portion 
 of the pattern. A comparatively plain border enhances the 
 
 effect produced by the ornamental centre ; an ornamental 
 border, however, might be employed in the present case 
 with good results, but what, for purposes of distinction, we 
 
 10 
 
146 DECORATIVE AND FANCY TEXTILE FABRICS. 
 
 have termed a " comparatively plain border" has a remark- 
 ably rich effect if drafted as shown in Fig. 90, in which a 
 bold twill band is succeeded by a fancy diamond effect, these 
 being again followed by the twill. Attention must now be 
 given to working out the draft for the complete border. In 
 the first place, a small portion of the bold twill and diamond 
 
 Fig. 91. 
 
 weave only is shown. The number of ends per inch would 
 be 120, and the picks per inch, 100 ; thus the pattern would 
 be more correct if drafted on 12 x 10 paper. The twill, A, 
 represents a portion of the body. In drafting the border, 
 about 60 ends should be allowed for the twill, B, or about 
 half an inch when woven. The fancy diamond weave, C, 
 should be drafted on, say, 90 ends, or about three-quarters 
 
SILK HANDKERCHIEFS. 
 
 147 
 
 of an inch in the cloth. For the twill, D, this should be 
 continued for about one and three-eighths inches of cloth. 
 This is for the side border. For the bottom, repeat the side 
 
 border, allowing the same proportions for the twills and dia- 
 mond weave. Thus for the inner twill band allow 50 picks, 
 for the diamond 75 picks, and for the outer twill band con- 
 
148 DBCOEATIVE AND FANCY TEXTILE FABEICS. 
 
 tinue for the same width as that running up the side. The 
 corner would consist of a continuation of the diamond bands 
 crossing the outer twill band. A variation in the border 
 might be made by having the different bands narrower and 
 finishing off with a broad satin weave. 
 
 ANOTHER HANDKERCHIEF DESIGN. 
 
 Fig. 91 is a small pattern, repeated at intervals upon a fancy 
 ground. The method of working is illustrated in Fig. 92, but 
 again it is not possible to show the whole ruled-paper drafting, 
 on account of the amount of space which would be required. 
 The figure should be drafted in satin, and a plain satin border 
 given. Thus A shows a portion of the satin border, B is the 
 ground weave for the body or centre, C is a small portion of 
 the satin figure, and D is the edging or selvage which goes 
 up each side of the ruled paper. A variation could be made 
 by the use of an ornamental border, or one such as that in 
 Fig. 91 could be employed with good results. For instance, 
 there might be half an inch of satin and the same width of 
 ground weave, finishing off with satin. The effect of some 
 handkerchief patterns is greatly enhanced without the use of 
 extra colour shuttles, by the simple expedient of printing 
 upon the figured portion in some bright colour. Thus, in 
 Fig. 91, the balls show that which would be printed. Sup- 
 posing we made our cloth in a deUcate blue, a charming 
 effect might be produced by printing the balls in crimson. 
 Although the designer would show both the woven and the 
 printed portion upon his sketch of the design, it goes without 
 saying that he would take no notice of the latter when 
 working out his ruled paper. This pattern would produce 
 the best result if woven with 312 ends and 80 picks per inch, 
 and would, therefore, be more correctly drafted if 4 x 16 
 ruled paper were used, instead of that we have employed to 
 simply illustrate the method of working out the pattern. 
 
CHAPTER XIV. 
 
 DRESS FABRICS. 
 
 In the remarks upon damask fabrics, it was stated that some 
 seven centuries ago these materials were extensively manu- 
 factured in Damascus, but they were composed of silk, and 
 the trade came to recognise any silken texture as a damask. 
 In treating upon this class of goods, various drafts were 
 given which are all equally used in the manufacture of dress 
 fabrics. The twill, the satin and the fancy weaves are of 
 equal importance in the present case. It is necessary to 
 mention this fact in order to render this chapter complete in 
 itself. In the course of the observations made designs and 
 drafts will be given, and, although these have been drawn 
 specially for silk fabrics, the general scope of the chapter will 
 be equally applicable to fabrics manufactured of other yarns. 
 
 SATIN EFFECTS. 
 
 There are many beautiful designs for silk goods, particu- 
 larly those for high-class fabrics for evening wear, which are 
 manufactured in a simple satin weave. Many of these 
 patterns are somewhat extensive, consisting of long sprays 
 of flowers and leaves, in some cases, executed in their natural 
 size. The drafting of a pattern of this character would be 
 the same as that given in Fig. 90, in the last chapter. Suppose 
 two colours are employed for the figure, the pattern would 
 be drafted as shown in Fig. 81 (Fancy Eibbons), and if it 
 was desired to introduce a third, then proceed in the same 
 manner, employing a third shuttle wherever required — this 
 
150 DECORATIVE AND FANCY TEXTILE FABRICS. 
 
 would be bound on the back on the satin foot. Considering 
 all that has been said in the two previous chapters applicable 
 to the drafting of designs with the satin weave, there is no 
 necessity to enter further into this part of the subject here. 
 
 Fig. 93. 
 A SIMPLE DESIGN. 
 
 The matt, the ottoman and such-like weaves, of which 
 examples have been given before, are much used in the pro- 
 duction of a variety of dress fabrics, not only in silk, but also 
 in cotton, wool, etc., and, when used in combination with 
 ornamental figuring, some really good results ensue. Many 
 very pretty fabrics are woven by the simple expedient of 
 
DEESS FABEICS. 
 
 151 
 
 utilising two or three ordinary weaves in one pattern. As 
 an instance of this see Fig. 93. This consists of a design 
 in outhne, four of the most elementary effects being included 
 in its composition. Yet a texture of this description, if 
 woven in silk, say 112 picks and 136 ends per inch, has a 
 remarkably tasteful appearance. 
 
 As no treatise upon the subject of dress fabrics would be 
 complete without some reference to the subject of swivel 
 weaving, this matter must be dealt with briefly here. 
 
 Fig. 94. 
 
 SWIVEL WEAVING. 
 
 This consists of introducing extra colour effects into 
 fabrics in such a manner that the yarn runs on the back of 
 the fabric at intervals only — that is to say, it is employed 
 only in the formation of the figure, spot, or whatever may 
 be the character of the ornamentation, and does not, there- 
 fore, as in the ordinary form of shuttling, run across the 
 whole width of the piece. The arrangement is used to a 
 
152 DECOEATIVE AND FANCY TEXTILE FABRICS, 
 
 great extent upon hand-looms and also upon power-looms. 
 There have been a great number of inventions during the 
 past few years for various forms of mechanism for swivel 
 weaving, but all are more or less upon similar lines. In the 
 last chapter, a ribbon-loom was described. This was con- 
 structed to weave eighteen ribbons at one and the same time. 
 In this case, there are, of course, eighteen shuttles running 
 at once. Swivel weaving is the application of the principle 
 
 Fig. 95. 
 
 of a number of ribbon shuttles to an ordinary loom, the 
 ribbon shuttles working in unison with the ordinary loom 
 shuttles. The small shuttles are arranged at intervals, 
 across the loom, in a frame attached to the front of the slay. 
 This frame is so arranged that, through the action of the 
 Jacquard, it may be raised or lowered as required. The 
 frame may thus remain up or down as long as may be 
 necessary for the weaving of any particular pattern, accord- 
 ing as the cards which govern it are plain or punched. 
 
DRESS FABRICS. 
 
 153 
 
 Suitable mechanism is provided for the running of the small 
 shuttles, and means are also afforded for throwing the ordi- 
 nary picking motion out of gear when necessary. One great 
 drawback to swivel weaving lies in the fact of the prescribed 
 limits to its use. For instance, there must be a specified 
 distance, crosswise of the loom, between each leaf, figure or 
 spot, where extra colour is to be inserted, and, although the 
 frame for the next row of spots or figures may be moved, so 
 that they appear in the fabric midway between the previous 
 
 ..xvs| |xvxvv| |wv>.| |xvcv,| |.v.xxv| |.v>xxj I 
 
 Fig. 96. 
 
 row, this does not tend much to obliterating the set and 
 formal appearance often noticeable in fabrics made on the 
 swivel loom. 
 
 A variation of the swivel motion is provided by what are 
 known as circles, which accomplish the same purpose as the 
 swivel, but the yarn enters the shed with a circular motion, 
 and by this method, a greater number of spots or figures can 
 be woven in a row than is the case with the swivel motion. 
 The shortest possible descriptions of these mechanisms have 
 
154 DECORATIVE AND FANCY TEXTILE FABRICS. 
 
 been given ; they are, however, sufficient to give a general 
 idea of their method of working. They are by no means 
 
 
 
 
 111 
 
 .C ■ rp I— ~ U CM _L 
 
 J U LH — u~T' U 
 
 r~ M r ~r ~ T "L~r 
 
 
 
 
 
 
 
 "fiEi-"Ei:"=i"-=i-:=i- 
 
 = = = = = = = = - = = 
 
 - bk El -1 El ^1 
 
 :Ed El = i: El El :i 
 
 = E - E - E - • 
 
 z El El zt — t — t = 
 
 .rilEi ci. 'bi— Elisiq 
 
 
 - El hi =1 El. . EI....E 
 
 :=■ El =■: Fi =1 =1" 
 
 - "ThI =1 =1 =1 El" E 
 
 :=gEi±=i::=i""=i"Ei: 
 
 
 - = 4 1 =i~EI_ -1 El " = 1: 
 
 -:U i tiTti. hi ti""Ei- 
 
 
 - bi : Ml ^1 Eii =1 = 
 
 
 = d j =d 1 El _Ei:-=i: 
 
 Fig. 97. 
 
 universally regarded as successfully accomplishing their 
 object ; for one reason they are too slow in their action, and 
 therefore a sufficient quantity of work in a given time 
 
DRESS FABRICS. 
 
 155 
 
 cannot be got by their use. A prominent loom-maker says' 
 that he does not make them, as he considers them out of 
 date when compared with embroidering machines. It is 
 quite true that some beautiful effects are produced upon silks- 
 and other varieties of fabrics by the aid of embroidery 
 machines, but the subject being dealt with is swivel weaving,, 
 and therefore it may not be out of place to give one or two 
 designs which may be produced by this method. 
 
 EFFECTS BY SWIVEL WEAVING. 
 
 The design illustrated in Fig. 94 has been specially drawn 
 for silk dress goods. It is intended to be woven with a 
 black warp and a coloured weft, such as a pale sage green. 
 The small portion of ruled-paper drafting, Fig. 95, explains the 
 method of treating the design throughout. The figure portion 
 is clearly distinguishable, as likewise is the diagonal ground. 
 The half-tone dotted portion of the design. Fig. 94, is the 
 satin. If the pattern is worked out to these instructions, a 
 very good and rich effect will result, say a sage green figure, 
 black satin panel, and a diagonal ground of sage green and 
 black, in weaving which, allow 290 ends and 100 picks per 
 inch. It has already been stated that in swivel weaving 
 colours can only be introduced at intervals ; in Fig. 94 this 
 point is illustrated. In this design the flower is shaded by 
 lines, and would be woven by the swivel mechanism. The 
 design being arranged on the drop principle causes the second 
 row of flowers to come midway between the first row, and 
 thus tends to lessen the set appearance inseparable from the 
 system of introducing colour into a fabric by the aid of 
 swivel weaving. This flower should be in salmon pink, 
 which will harmonise nicely with the black and sage green 
 of which the fabric is woven. . ' 
 
 The next illustration of a dress goods design. Fig. 96^ 
 shows a ground of the matt or basket character, an old and 
 
156 DECOBATIVE AND FANCY TEXTILE FABEICS. 
 
 valuable formation in many classes of designing. In the 
 present instance it forms a good pattern for our purpose, 
 and is given in the exact cloth size. The scrolls and balls 
 are intended to be produced by the aid of the swivel. A 
 full repeat of the matt draft is given in Fig. 97. The hght 
 •dots in the draft indicate ground warp and weft. The black 
 is figure weft and the white the warp. In weaving it will 
 be found expedient to have the ground weft on a separate 
 beam. With reference to colour, black warp and weft, with 
 the swivel figure in any delicate shade — blue, mauve, rose 
 pink, etc. — may be used, which would produce a good useful 
 class of silk fabric, as would also be the case if navy blue for 
 warp and weft, and gold for scroll were employed. Another 
 effective colouring would be ground myrtle green and figure 
 pink. Other colours that harmonise well are brown and 
 pale blue, and maroon and gold. The weave given herewith 
 would be found serviceable if used alone, the basket forma- 
 tion giving to the surface of the fabric a beautiful lustrous 
 appearance. In fact, the designs — Figs. 94 and 96 — form 
 examples of good useful styles when employed without the 
 aid of the swivel, but, as it is necessary to deal with this 
 portion of the subject, it would be difficult to show two 
 patterns which more clearly illustrate our remarks upon this 
 class of figure weaving. 
 
 DRESS GOODS. 
 
 Having briefly described the process of swivel weaving, 
 one or two other designs for dress goods may be considered. 
 The designer may obtain an almost endless number of effects 
 by the exercise of a skilful arrangement in the drafting of a 
 pattern, and in this respect much can be done by the use of 
 fancy ground weaves, some of which have been previously 
 given, but it will be advantageous to show a further specimen 
 •of this variety of design. 
 
DEESS FABRICS. 
 
 157 
 
 A DIAGONAL WEAVE. 
 
 In Fig. 98 a sketch of a design is given in the actual size 
 it would appear when woven. This should preferably be in 
 delicate shades of colour — a pale blue ground being very suit- 
 able. The figuring of the design shown in white should be in 
 pale salmon pink, the dotted portion representing the blue 
 weft floating. The pattern is drafted on the pick and pick 
 principle, the figure being treated exactly as in the examples 
 previously given, notably the one for drafting the figured 
 
 Fig. 98. 
 
 satin. Thus the main portions of the ornamentation would 
 come up in pink, the small spray of leaves being blue, with 
 a pink outHne. The floating of the blue imparts to the 
 pattern a rich appearance. As this has been drawn with the 
 special view to the utilisation of a fancy ground, it becomes 
 a question as to the form this should assume, in order to 
 produce the very best result. Many styles will readily occur 
 to the mind of the practical designer, and, amongst these, 
 small diaper effects, such as the diamond and the lozenge, 
 
158 DECOEATIVE .AND FANCY TEXTILE FABRICS. 
 
 would stand prominently forward as serviceable motifs for 
 employment. But for the production of a remarkably rich 
 and pretty fabric, it would be difficult to find a better weave 
 than the diagonal, given in Fig. 99. We have already men- 
 tioned that the pick and pick principle of drafting is used, 
 a further illustration of which is given in this figure, which 
 requires little in the way of explanation. The black represents 
 the blue weft, the white is the floating blue warp, and the 
 
 Fig. 99. 
 
 light dots show the binding of the pink weft on the back. 
 The best result will be obtained by allowing about 360 ends 
 and 96 picks of each shuttle per inch. 
 
 BEVEBSIBLE WEAVES, 
 
 Many neat and taking fabrics may be woven by the 
 expedient of drafting minute figures in such a manner that 
 they produce a reversible pattern. In accomplishing this, it 
 is necessary to so construct the pattern as to produce an 
 
DEESS FABEICS. 
 
 159 
 
 exact equality in warp and weft on each side of the fabric. 
 The double satin and two of the three matt weaves, etc., 
 show this feature. Although it may appear simple, it is by 
 no means an easy thing to construct a good ornamental 
 weave of this description, such as the one illustrated in Fig. 
 100. Here we make use of one figure, repeating it upon the 
 drop principle, and, at the same time, reversing the order of 
 
 Pig. 100. 
 
 the warp and weft — that is, the weft in the one figure be- 
 conies the warp in the other, and vice versa, and thus we 
 have equal portions of warp and weft up and down in the 
 whole pattern. In the production of this, suppose a white 
 warp and a lavender weft are employed, or a dielicate pea- 
 green for the warp and a gold for the weft, or, say, pale blue 
 and pink — the colours should only be a few shades removed 
 
160 DECORATIVE AND FANCY TEXTILE FABRICS. 
 
 from white — we should procure a neat and good result, the 
 general appearance being greatly enhanced by the effect of 
 the hght and shade which play upon the figures. Much of 
 the admiration bestowed upon silk, as well as upon many 
 other fabrics, is in no small degree due to effects produced 
 by light and shade. For instance, the floating of silk is 
 so much resorted to because the light striking it gives it a 
 beautiful, lustrous appearance, which would not be the case, 
 at all events to so great a degree, if floating were avoided. 
 
 Much may be done with this small pattern by a judicious 
 combination with other weaves. It can be seen how the 
 idea works out, using this figure in combination with the first 
 of the matt weaves and the double satin given in the chapter 
 on " Scarf Silks and Eibbons ". Supposing a stripe is to be 
 attempted with warp and weft of the same shade, allow two 
 inches of figure, then half an inch of double satin, the figure 
 and satin being divided by a few ends woven plain. The 
 double satin might then be succeeded by a similar width of 
 the matt weave, followed by satin, and finally repeating the 
 figure. The pattern would require about 200 ends per inch, 
 but, where the double satin comes, about 400 ends per inch 
 would be required. 
 
 This type is useful as a groundwork for further orna- 
 mental effects, and much may be done in this direction by the 
 aid of one shuttle only, the designs most suitable being those 
 of a trailing or open character, that is, patterns which do not 
 cover the ground too much. But in preparing ruled papers 
 for these, it is advisable to entirely surround the ornamenta- 
 tion by a little plain drafting, in order to throw it clearly out 
 from the ground effect. The figure upon the face would be 
 formed by the weft, that upon the back by the warp, and 
 thus the reversible character of the pattern would still be 
 maintained. 
 
DRESS FABEICS. 
 
 161 
 
 END AND END WITH PICK AND PICK. 
 
 Many very good fabrics are produced upon the end and 
 end and pick and pick principle, but as this was fully dealt 
 with in the chapter on "Damask and Tapestry Fabrics" there is 
 no need for repetition here. Not only is the principle adopted 
 in the manufacture of silk fabrics, but also in those composed 
 of cotton and worsted yarns, etc. The designs usually em- 
 ployed are such as cover the ground well, and there is there- 
 fore much scope for the skilful designer in the production of 
 good ornamental patterns, such as those illustrated in Figs. 
 12 and 15, in one of the chapter on " Hints on Designing Fab- 
 rics," and, for the purpose under notice, no better examples 
 
 Fig. 101. 
 
 Pig. 102. 
 
 could be given, as they furnish precisely the class of pattern 
 usually adopted. With these observations, the end and end 
 and pick and pick principle of drafting fabrics may be left. 
 
 TWEED DRESS GOODS. 
 
 Upon the subject of tweed and the heavier makes of dress 
 fabrics, Httle needs to be said. Where ornamentation is em- 
 ployed, it usually partakes of the simplest character, being, 
 in fact, seldom more than a leaf, ball, cube, diamond, lozenge, 
 basket, zig-zag, crescent, or some such elementary device, 
 repeated at intervals. Even where patterns of a more orna- 
 mental character are made use of, they are generally of the 
 
 simplest description, such, for instance, as those given in 
 
 11 
 
162 DECORATIVE AND FANCY TEXTILE FABRICS. 
 
 Figs. 101 and 102, which are very fair examples. Patterns 
 such as these give the best effect when woven in bold repeats, 
 six inches not being too wide for either design. The weaves 
 employed call for no special mention, much being possible 
 with the most rudimentary of them. An important object 
 in many tweed dress fabrics appears to be the production of 
 good ground effects, such as those known as heather mixtures. 
 Camel hair yarns are used to some extent, being often intro- 
 duced in the ornamental portions of the fabric, thus giving 
 the figures a shaggy and extremely ugly appearance. Knop 
 and curl yarns have been and will, no doubt, continue to be 
 used largely, and grounds, figures and stripes of these mate- 
 rials have by no means a bad effect. Flocked yarns are also 
 much employed, producing the irregular spots or splashes of 
 colour often seen distributed over the surface of a tweed 
 dress fabric. But in this make of goods, as in many others, 
 fashion rules, and it is not always that ornamentation in 
 them is generally acceptable. 
 
 LENO OR GAUZE FABRICS. 
 
 The subject of dress goods could not be left without some 
 reference to the class of cloths known as leno or gauze 
 fabrics ; but only a passing reference to them will be made 
 in closing this chapter. The few observations will be found 
 equally appHcable to fabrics woven from silk, cotton or 
 worsted, and the design and section of ruled paper given are 
 likewise suitable for all these fabrics. Any one who has 
 taken the trouble to inspect a sample of leno or gauze cloth 
 will have noticed that the warp threads do not lie parallel, 
 but are twisted round each other in such a manner as to 
 form, along with the weft, open work in the ground or figure. 
 This twisting is accompHshed by the aid of doups, forming 
 a portion of the Jacquard harness. To be more expHcit, 
 there is employed what is generally known as the douping 
 warp, in addition to the ordinary or ground warp, and the 
 
DEESS FABRICS, 
 
 163 
 
 intertwining of the two, in conjunction with weft threads, 
 forms the leno or gauze. 
 
 In tying up a harness, a certain proportion of the Jac- 
 quard uprights or wires is required for the doup harness cords, 
 the exact proportion differing in various cases, although a 
 common division is one-third for doup and two-thirds for 
 the remainder of the harness. The doup leashes consist of 
 ordinary harness cords, furnished with the usual mails. A 
 loop or shp is employed, one end of which is drawn through 
 an eye in the mail, the douping warp passing through that 
 part of the slip or loop which protrudes through the mail and 
 not through the mail itself. Should an end of douping warp 
 breaks the corresponding slip falls from the mail, and, in 
 order to obviate this, the slip is, in some cases, passed through 
 two holes in the mail, and thus it is impossible for it to 
 fall out. But this causes extra friction, with consequent 
 wear and tear, and, therefore, the remedy is not regarded 
 favourably. The doup harness is attached to the front rows 
 of uprights, the back rows being, of course, occupied by 
 the remainder of the harness. The use of a slackening 
 arrangement is necessary in order to properly operate the 
 doup warp. This may take the form of a back harness, 
 worked by levers, arranged a short distance behind the 
 harness proper, and through this the doup warp is drawn. 
 But there are other methods employed — one by a Lancashire 
 maker. In this case, the levers are dispensed with and the 
 back harness is attached to the hooks of the Jacquard 
 machine. 
 
 Leno weaving has formed the subject of innumerable 
 patented inventions, some deahng with one portion of the 
 mechanism and some with another, and to treat this process 
 fully and quite up to date would require the consideration of 
 many of them. 
 
 Leno weaving can, of course, be done by the use of healds 
 
164 DECOEATIVE AND FANCY TEXTILE FABEICS. 
 
 in place of the Jacquard, and some very pretty effects in 
 small figures, checks, stripes, etc., can be produced, but then 
 the designer has the trouble of constructing the douping plans, 
 which are not necessary when the Jacquard is used. In any 
 case, and particularly by the aid of the Jacquard, the designer 
 has a wide scope for the exercise of his powers ; take, for 
 instance, alternate checks of gauze and plain, the latter having 
 a small figure upon it. In stripes, some pretty combinations 
 are possible. Examples are common of neat floral effect in 
 coloured warp upon plain stripes, connected by stripes of 
 
 Fig. 103. 
 
 gauze. Twills and satins may be employed— in fact, there 
 is scarcely a limit to the variety of effects which may be 
 obtained. 
 
 A LENO DESIGN. 
 
 In Fig. 103 a sketch of a simple figure is given as an 
 example, and in Fig. 104 a small portion of the ruled-paper 
 drafting is shown, but the whole pattern may be completed 
 upon 144 ends. In cutting the cards, the black and the hght 
 dots are required to Hft. In this type of patterns, two ends 
 cross two ends. In the weaving, it is necessary that the 
 doup should be raised first and immediately before the figure 
 
DEESS FABEICS. 
 
 165 
 
 begins, if only for a single pick, as, otherwise, a float and 
 an imperfect gauze crossing will result. The doup is shown 
 on the ruled paper, Fig. 104, in a half-tone dotting. Al- 
 though the figure is given as plain weaving, a fancy figuring 
 may be employed, having a small portion of plain around. 
 A further variation may be given to this design by making 
 the ground plain and the figure gauze, a remark which may 
 
 Fig. 104. 
 
 be generally accepted, as gauze figures on plain or fancy 
 grounds are often quite as effective as are those composed in 
 the contrary manner. For a worsted leno, this design would 
 come out well in 2/80's yarn for warp and weft ; 15's reed ; 
 4 ends in a reed ; 60 ends per inch, and 54 picks per inch. 
 For a cotton leno, the following particulars may be taken as 
 a guide : 1/50's yarn for warp and weft ; 20's reed ; 4 ends in 
 a reed ; 80 ends per inch, and 70 picks per inch. 
 
CHAPTER XV. 
 
 MANTLE CLOTHS. 
 
 In dealing with the subject of mantle cloths, one great draw- 
 back presents itself, viz. : much, if not all, that has been 
 said in the last three chapters might, with advantage, be 
 stated here, and, therefore, it is difficult to separate hand- 
 kerchiefs, dress goods, mantle cloths, and such-like fabrics 
 one from the other, in order to treat upon each as complete 
 in itself. A designer may select any of the weaves already 
 given, and, from it, construct a pattern for a mantle cloth ; 
 for instance, the satin weave is very often employed for some 
 classes of these fabrics, notably broche satins, and some of 
 those woven in worsted yarns. Figured tissues are, how- 
 ever, not always admissible — they are subject to the fluctua- 
 tions of fashion, at one season only the plainest cloths 
 meeting with general acceptance, whilst at another the 
 desire for ornamentation amounts almost to a craze, during 
 which period one may, at times, see some startling novelties, 
 such as an elephant's head and trunk closely repeated as a, 
 drop pattern. Dragons and serpents and such-hke atroci- 
 ties have also been employed, whilst birds, butterflies and 
 insects have furnished the designer with good ideas for pretty 
 patterns. Flowers, leaves, scrolls, etc., down to the simplest 
 formations, are extensively used in the figuring of these 
 cloths. In connection with the fabrics which, for distinc- 
 tion, are here called plain cloths may be mentioned twills, 
 diagonals, hopsacks and similar weaves. In reversible 
 cloths, some good things in tweeds are often to be noticed. 
 
MANTLE CLOTHS. 
 
 167 
 
 such as those formed by showing upon one side a diagonal 
 of black and white and upon the reverse side the same yarns 
 worked up in the form of a plaid. Black and grey, brown 
 and fawn, and such combinations of colour, form pretty 
 effects in checks. As a further example, a cloth may be 
 constructed showing alternate diagonal lines in brown and 
 
 Fig. 105. 
 
 silver grey upon both sides. An extra effect is then pro- 
 duced upon one side by means of a skeleton check, in red or 
 blue, say, two inches square, this being crossed by the same 
 size of check in a black and grey twisted yarn. More showy 
 examples are such as have tartans of red, black and green, 
 or some similar combination of colours, upon the reverse side, 
 whilst the face has, say, a flocked effect, or one woven in two 
 
168 DECORATIVE AND FANCY TEXTILE FABRICS. 
 
 colours neatly blended by the aid of some simple fancy weave. 
 But such cloths as these are not ornamental ones, in the 
 sense in which fabrics are being treated in these pages, but, 
 nevertheless, they are of sufficient importance to merit a 
 brief reference here. 
 
 Ornamental fabrics for personal adornment assert them- 
 selves at recurring periods. They come and go ; at times 
 their reign is brief, at others they maintain their popularity 
 until the highest and the humblest wearer are satiated, and 
 fashion declares in favour of plainer cloths. They make 
 
 Fig. 106. 
 
 their debut in the form of silk, satin, plush and other ex- 
 pensive varieties, and, by gradual stages, appear in inferior 
 and still lower goods. In manufacture and design the scale 
 is descended until the lowest point is reached, and they be- 
 come a thing of the past. Such is the fate, to a greater or 
 lesser extent, of all fabrics that are subject to the claims 
 of fashion, and in no case is it more apparent than in that 
 of mantle cloths. If the statement requires any qualification 
 it is due to the fact that there is always a proportion of the 
 population that prefers ornamental fabrics for personal adorn- 
 
MANTLE CLOTHS. 
 
 169 
 
 merit, and, therefore, there is a certain amount of trade con- 
 stantly done in them. For instance, good figured worsteds, 
 l)roche silks and satins, and broche velvets and plushes rhay 
 be had at all times, and, consequently, it is advisable to deal 
 "with some of these here. 
 
 A WOKSTED MANTLE CLOTH. 
 
 A very neat and effective mantle cloth may be produced 
 
 ( Fig. 107. 
 
 by the use of the satin v^eave, a design for which is given in 
 Fig. 105 — a most suitable pattern for this class of cloth. 
 It will be noticed that in this figure the whole of the orna- 
 mentation has been drawn with a special view to avoid 
 binding of the figure, as a much clearer and better appear- 
 ance is produced by allowing the whole of the latter to float. 
 
170 DECORATIVE AND FANCY TEXTILE FABRICS. 
 
 The method of drafting is shown in Fig. 106. The main 
 difference between this and the one given in the chapter 
 on "Bilk Scarfs and Eibbons" is that a three and one twill 
 is used behind the figure in place of the plain ground weave. 
 This weave could, however, be used so as to produce two 
 colours in the figure, by following the method shown in the 
 chapter just quoted. This design would be effective in a- 
 repeat of from 3| to 5 inches in width, the larger size being 
 preferable. 
 
 A BROCHE SATIN. 
 
 The design, Fig. 107, is a good example of those used for 
 broche or brocaded satins. In drafting ruled papers for this 
 class of tissue, many simple expedients may be adopted in 
 order to produce hght and shade, to add variety, and gener- 
 ally to promote effectiveness in the fabric. How this de- 
 sirable state of things is arrived at may be best described 
 by considering what may be done with the pattern under 
 notice. The ground is, of course, satin, but the whole of 
 the figure would be in a ribbed weave. Over this latter, the 
 large flower should be allowed to float as much as possible, 
 but, where this would not be satisfactory, shading, by means 
 of a tabby or twill, or the bringing up of the rib, should be 
 resorted to. It will be noticed that this flower has been 
 cut up by means of lines, in order to ensure floating to a 
 large extent, but shading may be adopted in various portions ; 
 for instance, some of the petals, particularly the two largest, 
 may be so treated, the latter at their inner terminations. 
 This would give them a sunken effect, thereby throwing up 
 the main portion of the flower. The stem of this flower, and. 
 those of the leaves, would come out best in the rib, and the 
 few larger leaves should also be shown in this effect, but 
 floating on the outlines on one side of the leaves, and also of 
 the veins, should be allowed. The various sprays of small 
 leaves should be shaded by means of a tabby or twill, the. 
 
MANTLE CLOTHS. 
 
 171 
 
 portions not shaded floating. The wreath of small flowers 
 may also be treated in the same way, but, in this case, very 
 little shading should be adopted, as the more floating is re- 
 
 FiG. 108. 
 
 sorted to here, the better will be the result. The festoon of 
 beads may also be floated or shown in the ribbed effect. In 
 using the various weaves for the purpose of shading, they 
 
172 DECORATIVE AND FANCY TEXTILE FABEICS. 
 
 may be employed simply or in combination one with another. 
 A tabby may come first and then a twill, and the latter may 
 run first in one direction and then in another. 
 
 In the limited space available it is impossible to give 
 an illustration showing the many and varied means em- 
 ployed in drafting in order to obtain the utmost perfection of 
 effect, but the small example given in Fig. 108 will exemplify 
 the general method of working. This is drafted pick and 
 
 Fig. 109. 
 
 pick. In the first place, the whole design must be drafted, 
 so that every two picks are exactly alike. Upon every odd 
 pick the rib must be shown throughout the whole figuring 
 of the pattern. In the illustration it is only shown on the 
 first five odd picks. In actual practice the designer would 
 not put this rib dotting on at all, because the card stamper 
 takes it as understood, and cuts his cards accordingly. The 
 floating figure, and likewise any shading of the design, are 
 worked upon the even picks. 
 
MANTLE CLOTHS. 
 
 173 
 
 ANOTHER WORSTED MANTLE CLOTH. 
 
 Some very good cloths for mantlings may be woven upon 
 the end and end and pick and pick principle, and curled or 
 looped yarns, or such as have the curl or loop formed 
 during the process of- vi^eaving, are often used in the figuring 
 w^ith good results. In such cases, the most suitable designs 
 
 Fig. 110. 
 
 are those of an irregular character — for instance. Fig. 102 in 
 last chapter is somewhat in the style of thing which may 
 be employed. The general run of patterns, either floral or 
 ornamental, hitherto given in these chapters, are much too 
 regular in formation to be of service for the particular type 
 of mantle fabric under consideration. Fig. 109 illustrates 
 the method of drafting that may be employed in this 
 
174 DECORATIVE AND FANCY TEXTILE FABRICS. 
 
 instance. The cloth would have a navy blue satin face weft, 
 with the warp figuring in blue and red, black being the curl 
 or loop yarn. The warping would be of these three colours 
 alternately, as shown upon the draft in black, in lines and 
 in crosses. The odd picks shown in black dots on the draft 
 represent a ground weft, and the white or even picks show 
 the satin face weft. 
 
 AN EXAMPLE IN WOOLLEN. 
 
 A very good class of reversible fabric for mantlings may 
 
 Fig. 111. 
 
 be manufactured from woollen yarns, either in a plain or 
 figured cloth. For the latter the design, Fig. 110, will be 
 found suitable. The method of drafting is shown in Fig. 
 Ill, which is simply a weft satin figure on a warp satin 
 ground. A warp of 12 skeins brown woollen and a weft of 
 9 skeins pale blue woollen would be a good combination of 
 colour — of course, giving a blue figure on one side and a 
 brown one on the other. For a 56 inch finished cloth 2240 
 ends would be required in the warp, 34 ends per inch, woven 
 35 picks per inch. Lift all black. 
 
MANTLE CLOTHS. 
 
 175 
 
 A WOOLLEN SHAWL. 
 
 The pattern, Fig. 110, is exactly the style of design em- 
 ployed in the manufacture of woollen shawls so much in 
 use amongst a certain section of the population. These 
 tissues are produced with the body of the shawl ornamented 
 and the border plain, or vice versa. In the latter case stripes 
 in various colours are introduced, as well as the ornamental 
 figuring. Such cloths are reversible and may be manufac- 
 tured by the aid of the following figure and ground weave, 
 Fig. 112, which has been extensively employed for this 
 purpose. The draft is for weft figure, and requires two 
 
 ■■9 Bl 19 
 
 mwstfk ^^mm nrjona ^e, 
 
 mrArATArJL ^HkZtrA mVAKU rAzmrJL 
 ■■ iSt 19 S 
 
 ^^isisi wawaTa ztaaimk ymvArA wan. 
 wiaaa iBsi^aiisa zaAwt isaiSaiiB 
 
 ^IBQlBlQf ^^TaTa ^QliaQiQ Wk 
 
 A ztamA massA waali 
 
 Fig. 112. 
 
 shuttles in weaving. By turning the draft on end it can 
 he used for warp figure with one shuttle, but end and end 
 warping would be required. The double satin weave given 
 in a previous chapter could also be used for a warp figure for 
 this class of cloth, if warped end and end, or by making the 
 bottom of the draft the side and using two shuttles, a weft 
 figure would result. 
 
 PATENT RAISING MACHINE. 
 
 Fabrics such as the woollen mantle cloth and the 
 woollen shawl require to have a special velvety finish im- 
 
176 
 
 DECORATIVE AND FANCY TEXTILE FABRICS. 
 
 parted to them, such as that afforded by teaseling, or by- 
 passing through the patent raising machine invented by 
 E. Moser and manufactured by James Tomhnson. This 
 raising machine performs its work in such an admirable 
 manner and has gained such a wide popularity that a de- 
 scription of it here will be found advantageous. 
 
 For the information of those readers who may not be 
 familiar with the mechanical construction and principle of 
 this machine it will be well to explain that it consists of a. 
 
 Pig. 113. 
 
 cylinder or drum, upon which is mounted a series of rollers, 
 each covered with suitable raising cards made of steel or 
 brass, as may be most suitable for the fabric to be raised. 
 TJhe machine illustrated in Fig, 113 has fourteen of these 
 card-covered rollers ; seven of these have their card points 
 inclined in a forward direction, while the remaining seven 
 have their points inclined in a backward direction. The 
 cylinder is made to revolve in a forward direction and at a 
 speed of about 800 feet per minute, carrying of course the 
 fourteen card rollers with it. The cloth to be raised travels 
 
MANTLE CLOTHS. 
 
 177 
 
 through the machine in the same direction, but at a speed 
 of about l-20th of that of the cyhnder. Upon the cyhnder 
 being set in motion, as will be easily understood, the rollers 
 receive a rotating movement in a direction opposite to that 
 of the cylinder itself, and, as this movement is of the 
 character of a rolling action, no raising or napping of the 
 fabric could be effected until the speed of the planetary 
 rollers is increased over and above that which they receive 
 from the cylinder itself. To do this and to accomplish the 
 raising or napping of a variety of goods, such as are found 
 in textile factories, the speed of each card roller is accele- 
 rated or retarded, thus the raising energy of the card rollers 
 is more or less severe according to the nature of the fabric 
 and to the amount of nap it is desirous to obtain. The 
 raising rollers being furnished, as mentioned above, with 
 card points working in opposite directions to each other, 
 the nap obtained is very short and full, and any tendency 
 there may be in the operation of raising to drive the weft 
 or otherwise weaken the fabric is practically overcome. 
 
 12 
 
CHAPTER XVI. 
 
 FIGURED PLUSH. 
 
 In dealing with this subject some reference will, no doubt, be 
 expected in relation to figured plushes, those beautiful fabrics 
 which are of such infinite value for the decoration of the 
 home. What can be more effective or in better taste than 
 a suite of furniture upholstered in a neatly designed plush 
 fabric ? The manufacture of plush has made great strides 
 towards perfection, owing, in no small degree, to the skill, 
 high inventive faculties and perseverance of Lord Masham, 
 who, as is well known, has built up a gigantic manufacturing 
 concern at Manningham, Bradford, and who has never 
 wearied in bringing his machinery to the highest possible 
 state of efficiency, as is evidenced by the great number of 
 patented inventions in which he is interested. It is scarcely 
 necessary to say anything further by way of introduction. 
 
 A PLUSH DESIGN. 
 
 The illustration given in Fig. 114 represents a design 
 for plush, and is shown mainly with a view to demonstrate 
 to what degree ornament for this class of fabric may be 
 worked up. From this it will be noticed that too much 
 detail is objectionable, and should therefore be avoided. A 
 fairly balanced quantity of figure and ground, with the 
 former carefully surrounded by the latter, may be considered 
 as an essential feature in designs of this class. The 
 ornament should riot be too fine in drawing. In weaving 
 this pattern, the white, of course, represents the plush, the 
 
FIGURED PLUSH. 
 
 179 
 
 ground being in satin or in some similar weave, and it will 
 easily be noticed that the marking of the centres of the 
 flowers, the veins of the leaves, etc., are so bold that when 
 woven they will show clearly between the pile of the plush. 
 This is Hkewise the case in the lines which divide one portion 
 of ornament from another. By following this course, an 
 
 Fig. 114. 
 
 effective pattern results, when otherwise there wpuld be a 
 heavy mass of indistinct and objectionable figuring, with no 
 artistic or ornamental formation about it. Therefore, let the 
 ornament be clear and bold, and thus it will be found possible 
 to work it out properly upon the ruled paper, which would 
 not be the case if too much detail were attempted upon a 
 sketch. 
 
180 DECOEATIVE AND FANCY TEXTILE FABEICS. 
 
 PLUSH WOVEN SINGLE. 
 
 Patterns of this character may be woven in a loom 
 either single {i.e., one piece at a time) or double {i.e., two 
 pieces woven face to face), the latter being by far the more 
 favoured method. It is, of course, understood that, m 
 weaving plushes singly, wires are used upon which the 
 pile is formed, much as in the case of Brussels and tapestry 
 
 Fig. 115. 
 
 carpets. The withdrawal of each wire severs the pile, 
 each of the former being suppHed with a knife-hke termina- 
 tion which accomplishes this. The diagram, Fig. 115, 
 gives a cross section of plush, the heavy black dots. A, 
 
 ■ ■■ ■■ "i. 
 
 ! ■ ■ S - ■ f ■ . ■ ■ ■ .1 ■ 
 
 ■IMMMB ■■■■■■■■■■■■■■■■■■■■■■■■ ■■■ 
 
 I. • ■ i. ■ • i. ■. ■ |. . ■ ]. 
 
 il' ■ ■ a' ■ b' ■ a' 
 
 BBBaBBBB Bwawa ■■■■■■■■ ■■■ 
 
 Fig. 116. 
 
 representing the wires, the line, B, the pile warp, and the 
 dots, C, the weft. The draft given in Fig. 116 further ex- 
 plains the construction of the cloth. The black is the satin 
 ground, the round dots represent the plush warp, which 
 rises for the wire to pass under it wherever it is desired to 
 make plush, but where it is desired to make satin, the 
 plush warp Hes down for the wire to pass over it. The 
 
FIGUEED PLUSH. 
 
 181 
 
 X on the second pick of the black is employed to bind the 
 plush warp at the back of the cloth, and thus prevent 
 floating. 
 
 PLUSH WOVEN DOUBLE. 
 
 In the weaving of two pieces of plush face to face, it is 
 scarcely necessary to remark that no wires are requisite, the 
 pile being formed in the loom by the plush warp passing 
 from the upper to the lower piece of fabric, and vice versa. 
 The two pieces are, of course, severed by a cutter, as men- 
 tioned later. The diagram given in Fig. 117 shows the 
 working of the plush warp, and also the satin ground, the 
 black lines representing the former, and the fine lines the 
 latter. The small dots represent the weft. Fig. 118 is a 
 draft which will further explain matters. The black is the 
 
 Fig. 117. 
 
 satin ground, and the dots and crosses show the plush 
 warp. In these figures satin grounds only have been men- 
 tioned, but others are employed, such, for instance, as twills 
 and some of the fancy effects common to the silk and ribbon 
 trades, amongst those being the one known as the Barathea, 
 shown in Fig. 119, which is in formation similar to a hop- 
 sack. Here again the black is the ground and the dots and 
 crosses the plush warp. It is necessary that some particulars 
 should be given of the looms employed in the plush industry, 
 and, therefore, the following short description of one for the 
 weaving of two pieces of plush face to face will be both 
 interesting and instructive. 
 
 A FIGURED PLUSH LOOM. 
 
 In Fig. 120 an illustration is given representing a side 
 elevation of a loom for the weaving of two pieces of plush face 
 
182 DECORATIVE AND FANCY TEXTILE FABRICS. 
 
 to face, at one operation. A Jacqmard machine is employed 
 for producing the figures by means of the pile warp, each 
 thread of which is fixed in a creel, placed behind the loom. 
 The Jacquard is in the usual position, and has, therefore, been 
 omitted from the illustration. Whilst the figure is produced 
 by the Jacquard acting upon each thread of the pile warp, the 
 ground is made by a set of tappets, which also regulate the 
 
 am. ii8. 
 
 length of the pile. The ground may, of course, be in a satin, 
 a twill, or otherwise, as above described. The tappets are 
 so arranged that, whilst weaving the top piece, the healds be- 
 longing to the lower are kept at rest at the bottom, and, when 
 weaving the bottom piece, the healds which control the top 
 piece remain at rest likewise, thus causing the two pieces to 
 separate, and by so doing taking up the length of pile given. 
 
FIGURED PLUSH. 
 
 183 
 
 There are two rollers at the back of the loom, one for each 
 ground warp, to open the said warps to a certain angle in com- 
 bination with the healds. The healds belonging to the top 
 piece are kept at a higher level than those which belong to 
 the bottom piece. These two levels, and the angles given by 
 the above-named rollers, keep the pile tight between the 
 two pieces. A movable rail or shelf is attached in front of 
 
 Pm. 119. 
 
 the reed in the shuttle race of the going part for the shuttle 
 to traverse over it. The object of this is to permit the rail 
 or shelf to descend as soon as it comes near the pile gauge, 
 which is placed close to the fell or edge of the cloth, and to 
 raise it again to its proper level, as the going part recedes 
 after beating up, thereby keeping clear of the pile gauge each 
 time the going part beats up. This rail or shelf is carried 
 by two pivots close up to the reed, and its front part only 
 
184 DECORATIVE AND FANCY TEXTILE FABRICS. 
 
 may be raised or lowered, or the whole rail may be raised or 
 lowered, by means of a positive parallel motion. 
 
 Utrecht velvets may be woven, two pieces face to face, 
 by using three combinations of tappets. Each combination 
 makes the weft to form the loop for the temples, and also 
 fastens all the selvages of the two pieces. 
 
 By reference to the illustration, it will be seen that A is 
 the side of the loom which carries the crank shaft, B ; the 
 swords, C, of the going part, E, are connected with the crank 
 
 Fig. 120. 
 
 shaft, B, by the crank arm, D, which gives motion to the 
 going part, E. The ground warps to form the back of the 
 pile fabric are marked F, F. These warps are acted upon by 
 the healds, G, the said healds being worked by tappets. The 
 creel, I, is required to carry the bobbins, J, upon which the 
 threads of the pile, K, are wound. The weights, L, are to 
 give tension to the pile threads, K, worked by the harness, 
 N, which is, of course, operated by the Jacquard. It has been 
 already stated that the tappets which work the healds, G, 
 
FIGURED PLUSH. 
 
 185 
 
 are so constructed that, whilst weaving the top piece, the 
 healds belonging to the bottom piece are kept at rest at the 
 bottom, thus causing an opening between the two pieces 
 which take up the length of pile. Two rollers, Q Q, are placed 
 between the warps, F, to keep them open to such an angle 
 as to take up the length of the pile in combination with the 
 tappets, such length of pile being given by the bobbins, J , 
 and regulated by a swing pile gauge, E. The swmg rail or 
 shelf, S, in front of the reed in the shuttle race of the going 
 part, E, is connected by rods, T, to levers, U, mounted on the 
 shaft, V, which is carried across the going part, E. Upon 
 the same shaft is mounted another lever, W, connected by 
 the rod, X, to the lever, Y, which lever works on its fulcrum, 
 This is fixed to the loom side, A. The lever, Y, is also 
 connected by the rod, h, to the lever, 6\ The lever, &\ works 
 on the stud, 6^ carried by the stand, 6^ fixed to the loom 
 side, A. The lever, 6\ receives its motion from the tappet^ 
 Z. This tappet is keyed on a toothed wheel, both of which 
 revolve upon the stud, d, fixed on the loom side, A. The 
 tappet, Z, and wheel receive their motion from the pinion, 
 d}, keyed on picking shaft, which is driven from the crank 
 shaft in the ordinary manner. The tappet, Z, is divided into 
 six parts, each part giving the required movement to meet the 
 swing gauge, E, and the shuttle at its proper time as follows: 
 Whilst weaving the top piece, the swing rail or shelf, S, in 
 the going part, E, is kept down by the tappet, Z, in order to 
 clear the swing pile gauge when beating up, there being 
 sufficient warp down to carry the shuttle. Whilst weaving 
 the bottom piece, the shelf, S, is caused to rise and depress 
 at each pick— it rises to carry the shuttle across, there not 
 being sufficient warp down to carry it, and it depresses to 
 clear the swing pile gauge, E, at the time of beating up. 
 
 It is most important in a figured pile fabric woven face 
 to face to obtain a smooth back and an equal length of pile. 
 
186 DECOEATIVE AND FANCY TEXTILE FABRICS. 
 
 The swing pile gauge, in combination with the swing or 
 movable rail or shelf, accomplishes this. 
 
 In the endeavour to give a description of a loom for the 
 weaving of two pieces of plush face to face, it has been ad- 
 visable to refer to an invention emanating from a firm well 
 Isnown throughout the whole textile world. 
 
 In the above description there is no mention made of the 
 manner in which the two pieces of plush are severed, but the 
 same firm has a method which may be briefly alluded to. A 
 ■cutter is mounted upon a rail and drawn backwards and for- 
 wards by cords attached to drums, which are rotated by 
 means of racks and pinions driven by a double cam. When 
 the knife comes to a rest at one side of the loom, it enters 
 hetween two sharpening rollers, one of which is brought into 
 contact with the knife, as it slowly passes over it, and, as the 
 knife returns, the other roller is brought into action. The 
 rollers consist of metal spindles, upon which are firm concave 
 barrels, covered with india-rubber, which is again covered 
 w^ith leather, or a similar substance, and over this the grind- 
 ing material is spread. 
 
CHAPTEE XVIL 
 
 BED QUILTS. 
 
 The manufacture of bed quilts or counterpanes is one of the 
 most important of the Lancashire cotton industries, there 
 being some thousands of looms running upon this type of 
 ornamental fabric in Bolton and the district. In Scotland 
 there is also a considerable trade done in counterpanes. 
 They are made in many varieties, from the very finest to the 
 lowest quality of fabric, and are known by various names, 
 such as the toilet, the honey-comb, the Marseilles, the Grecian, 
 the satin, the Alhambra, and the tapestry, in the designing 
 of which there is much scope for the production of good 
 ornamental effects ; it is, therefore, requisite, in treating upon 
 ornamental textile fabrics, to give special attention to this 
 subject. 
 
 THE QUILT LOOM. 
 It is not necessary to make many preliminary remarks 
 with reference to the loom, as the mechanism employed will 
 be understood by a perusal of the information given in treating 
 upon the various makes of quilts. The warp threads are 
 controlled by the Jacquard, in combination with healds. The 
 former is of various capacities, ranging from 400 to 1200 
 needles for ordinary makes of goods. In some cases the 
 harness is tied up for ordinary repeating patterns, whilst in 
 others it is arranged so as to control one half the width of 
 the cloth woven, the pattern being drawn to turn over from 
 the centre. In the course of this chapter both these types 
 of designs are given. 
 
188 DECOEATIVE AND FANCY TEXTILE FABRICS. 
 
 SATIN QUILTS. 
 
 Fig. 121 illustrates the class specially suitable for a satin 
 quilt, and is an example of a pattern that turns over from 
 the centre, both in the width and the length ; in other words. 
 
 Fig. 121, 
 
 there is just one quarter of the pattern shown. In the manu- 
 facture of satin quilts, two yarn beams are employed and two 
 shuttles, one of the latter using fine and the other coarse 
 
BED QUILTS. 
 
 189 
 
 weft, and two picks of each are made at one time. The best 
 satins are woven with two ends of Jacquard to one of healds. 
 Both grey warp and weft are employed, the quilts being 
 bleached after weaving. In preparing a ruled-paper design 
 for a satin quilt, it is necessary to draft the ornamentation 
 only, as the ground and binders are made by the healds, but 
 in order that the whole system may be properly understood, 
 a small draft is given in Fig. 122. In this the black squares 
 represent the figure weft and the black dots indicate the 
 ground weft, whilst the crosses show a binder warp for the 
 figure weft. This gives a detailed draft for a small spot, but, 
 
 Pig. 122. 
 
 in actual practice, only the spot itself would be drafted, as 
 shown to the right of Fig. 122. A very pretty effect may be 
 gained by employing a coloured ground, a good way to do 
 this being to use a striped warp. Thus the first, third, fifth, 
 twelfth, thirteenth and fifteenth ends may be in red or pink, 
 and the sixth, eighth, tenth, seventeenth, nineteenth, and 
 twentieth ends in white. The draft, Fig. 123, is for the same 
 class of cloth, but in this case the binder warp threads are 
 more regular. The black is the figure weft, the dots are the 
 ground weft, and the crosses are the binder warp ends for 
 the figure weft. Here, again, it is scarcely necessary to 
 
190 
 
 DECORATIVE AND FANCY TEXTILE FABRICS. 
 
 remark that only the actual figure requires drafting, as shown 
 by the spot to the right of the draft. 
 
 TOILET QUILTS. 
 
 The design shown in Fig. 124 represents a toilet quilt, in 
 preparing drafts for which there is again no necessity to show 
 the binders. Thus the drafting becomes a very simple 
 matter of good freehand drawing. Toilet quilts are usually 
 made with a 1200 Jacquard machine and two shafts of 
 healds, so that plain cloth can we woven with fine weft upon 
 the face side of the cloth. Two yarn beams are employed, 
 
 Pig. 123. 
 
 one for the Jacquard and one for the healds. There are two 
 heald or face ends for one Jacquard end. The Jacquard 
 ends are drawn in two comber boards one after the other, 
 but there are always two heald ends between each Jacquard 
 end. The comber boards work when the fifth and tenth 
 picks are going in, in order to bind the Jacquard yarn at the 
 back of the cloth, that is, under the figure which is made on 
 the face side. Two shuttles also are employed, one weaving 
 fine weft, which gives the quilt a good appearance, and the 
 other coarse weft, which forces the pattern up, and at the 
 same time gives weight to the fabric. 
 
BED QUILTS. 191 
 
 There are generally five picks to each Jacquard card, as 
 follows : — 
 
 First pick : Jacquard up, fine weft, first heald up. 
 Second pick : Jacquard up, fine weft, second heald up. 
 
 Fig. 124. 
 
 Third pick: Jacquard up, coarse weft, both healds up. 
 
 Fourth pick: Jacquard up, coarse weft, both healds up. 
 This latter is a repeat of the third pick, as it returns in the 
 same shed. 
 
192 DECORATIVE AND FANCY TEXTILE FABRICS. 
 
 Fifth pick: Jacquard down, fine weft, both healds up, 
 and one of the pressure, Hfting half the figure warp. This 
 makes plain cloth at the back where the figure is. 
 
 Sixth pick : Jacquard up, fine weft, first heald up. 
 
 Seventh pick : Jacquard up, fine weft, second heald up. 
 
 Eighth pick : Jacquard up, coarse weft, both healds up. 
 
 Ninth pick : Jacquard up, coarse weft, both healds up. 
 Bepeat of eighth pick. 
 
 Tenth pick : Jacquard down, fine weft, both healds up, 
 and one of the pressure up, hfting one half the Jacquard 
 yarn which was not lifted by the fifth pick. 
 
 Numbers five and ten are termed pressure picks. They 
 are both fine picks, and make plain cloth at the back of the 
 quilt, where the Jacquard yarn has not been raised. Were 
 it not for these, the Jacquard yarn would be loose at the 
 back of the cloth, behind the figure. Grey yarn for warp 
 and weft is employed, and the quilts are bleached after being 
 woven. 
 
 HONEYCOMB QUILTS. 
 
 Honeycomb quilts, so called from the cellular appear- 
 ance of the fabric, rank amongst the most effective of the 
 many varieties of quilts manufactured. Good bold patterns 
 are the best for this class of cloth, in order that the honey- 
 comb may be used to the greatest advantage. Various fancy 
 weaves are hkewise employed, and when they are combined 
 with the honeycomb, a handsome reversible fabric results. 
 This style of quilt is made with the Jacquard alone, only 
 one yarn beam and one shuttle being needed. The Jacquard 
 rises and falls at every pick. The warp is always a two or 
 threefold yarn, and in the better quafities of cloths, the weft 
 is the same as the warp, but, in the lower qualities, poor 
 single yarns are used. Both warp and weft are bleached 
 before weaving. 
 
 A draft for making the honeycomb effect is given in Fig. 
 
BED QUILTS. 
 
 193 
 
 125. In this, the black represents the warp and the white the 
 weft. The dots show the longest floats of each, and it is 
 these that produce the cellular appearance, as those portions 
 which are more tightly bound naturally fall in. Good geo- 
 metrical patterns, repeating in the ordinary manner, with 
 bold outlines and clear spaces at intervals, for the intro- 
 duction of the honeycomb, and with lesser spaces filled in 
 with other fancy weaves, form good designs for this variety 
 of quilt. Borders of a similar character to the body pattern 
 may be employed, and where the ground of such is made in 
 
 Fig. 125. 
 
 the cellular effect, a very handsome fabric results, which is 
 much enhanced by allowing a few inches of plain honey- 
 comb around the border as a termination to the quilt. 
 
 GRECIAN QUILTS. 
 
 In the manufacture of Grecian quilts, no healds are re- 
 quired, and only one yarn beam and one shuttle are used, 
 the Jacquard rising and falling at every pick, as in the case 
 of honeycombs. Of course, the appearance of the cloth is 
 not the same. In Fig. 126, a design suitable for a Grecian 
 
 13 
 
194 DECOEATIVE AND FANCY TEXTILE FABRICS. 
 
 quilt is shown, in which the body of the pattern centres or 
 turns over at each side, and a border may be so constructed 
 that each side of it may be the same, although the centre 
 
 Fig. 126. 
 
 portion may not turn over. By this method, a freer and 
 easier effect is given to the border than would be the case 
 if it turned over from the centre. But in Fig. 126, an ordi- 
 nary flowing border is shown. As a termination to the 
 
BED QUILTS. 
 
 195 
 
 quilt, the bars may be repeated for a few inches. In pre- 
 paring a ruled paper for a Grecian quilt, the ground should 
 be in, say, a five shaft satin, but the figure may be more 
 loosely bound, say, in a ten shaft satin. The bars may be 
 suitably bound with a twill. A Grecian makes a very good 
 reversible quilt. 
 
 Fig. 127. 
 
 ALHAMBRA QUILTS. 
 
 Alhambras are amongst the cheapest varieties of quilts 
 manufactured ; they are also the most popular, if the num- 
 ber made and sold is any criterion. There are more Alham- 
 bras sold than of all other kinds combined. The value of 
 f nil- sized quilts, measuring a.bout 108 x 84 inches, ranges 
 from 2s. 9d. to 6s. 6d. There are two yarn beams employed 
 
196 DECORATIVE AND FANCY TEXTILE FABRICS. 
 
 in the weaving — one for the Jacquard, in which there is a 
 coloured warp, making the pattern or figure, and the other 
 containing a white warp, worked by two healds, which makes 
 the plain cloth. In the lower qualities of cloth, a grey warp 
 is used in place of the white. The Jacquard rises and falls at 
 every pick, and one heald also changes at every pick. There 
 are as many white ends in the warp as there are mails for 
 the Jacquard, but there are two, three or four ends in each 
 mail, according to the quality of the quilt — four ends are 
 more expensive, but look much better than two. The weft 
 is a very common bleached yarn, generally of from 80 to 
 100 yards to the ounce. One shuttle only is required, and, 
 as a rule, a 600 Jacquard machine is employed, or a 400 is 
 used, providing the harness is tied up specially for small 
 repeats. There are usually twenty white ends to twenty mail 
 ends per inch. In Fig. 127, a design is given showing an 
 ordinary repeating pattern suitable for an Alhambra quilt. 
 In preparing the ruled paper, draft the figure for the body 
 pattern in red. This may be tied, to prevent an unnecessary 
 length of float, in a suitable manner. Veins of leaves may 
 be continued to their edges in single lines, a satin here and 
 there where required, and in such-like manner the binding 
 may be accomplished. The ground may be in half-and-half 
 effect, that is equal portions of warp and weft up and down. 
 The border should then be drafted in white, the ground 
 being red, tied with a satin, say, of eight shafts. The border 
 figure may be bound in a similar manner to that adopted for 
 the body. 
 
 The small diaper pattern shown around the border must 
 be repeated several times, in order to form a good termina- 
 tion to the quilt. This introduction of small diaper patterns 
 is a common practice in the manufacture of any class of 
 quilt, but, as one example is sufficient, the diaper has not 
 been shown in the other figures illustrating this chapter. 
 
BED QUILTS, 
 
 197 
 
 Of course, in drafting, only one repeat of the diaper is neces- 
 sary around the border. 
 
 With these few particulars and figures illustrating the 
 satin, the toilet, the honeycomb, the Grecian and the 
 Alhambra, this chapter on the subject of quilts may be con- 
 cluded. 
 
 In Figs. 121 and 124, one quarter only of the design is 
 given, but, in order that the reader may better judge of the 
 effect, the whole of each pattern is given on our separate 
 plates. 
 
CHAPTER XVIIL 
 
 CALICO FEINTING. 
 
 The subject of colour printing as applied to textile fabrics 
 is one that would fill a large volume if dealt with adequately. 
 It is necessary in treating upon ornamental textile fabrics to 
 say something upon this highly interesting process, but it is 
 obvious that, within the scope of a single chapter, it will not 
 be possible to do more than treat upon those points which 
 are of the most use to the student and designer. The print- 
 ing of textile fabrics is a very ancient art, having been prac- 
 tised in olden times by the Egyptians and Chinese. We also 
 find that the printing of calico was carried on in India at an 
 early date. " Prints " were so much worn in this country 
 that the Government prohibited their use. Such obstacles 
 were, however, afterwards removed, so that in the year 1765 
 calico printing had been established as a regular branch of 
 Lancashire industry. Of course, it is scarcely necessary to 
 state that many other fabrics besides cotton are printed — that 
 silk, linen, woollen, etc., are extensive branches of the art, 
 but the processes in each case are mainly the same as that 
 in use for calico printing.. 
 
 BLOCK PRINTING. 
 Probably there are many who suppose that, in conse- 
 quence of the inventive genius of the present age, machine 
 printing has entirely superseded the older and more primi- 
 tive method of block printing, but this is by no means 
 the case. The latter process is extensively practised to 
 this day, and there are those who consider themselves com- 
 
CALICO PRINTING. 
 
 199 
 
 petent judges who will assert that the result produced by 
 block printing is greatly superior to that gained by the more 
 modern and speedier method of machine printing. However, 
 there is no necessity to inquire into the relative merits of 
 these assertions and methods, still there is no doubt that 
 
 Fig. 128. 
 
 some very beautiful fabrics are printed by the primitive 
 system. In this process as many wooden blocks are em- 
 ployed as there are colours in a design — that is to say, each 
 colour is separately engraved upon a block of fir, pear tree, 
 sycamore, or boxwood. Impressions of these blocks are often 
 cast in type metal, and thus made use of. Each portion of 
 
200 DECOEATIVE AND FANCY TEXTILE FABRICS. 
 
 the pattern stands out in relief, and where fine effects, such 
 as lines, etc., are employed, copper wire is used. The blocks 
 are supplied with pins at the corner, in order that each one 
 may successively fit exactly upon the space occupied by the 
 previous one, and thus produce a perfect pattern. The cloth 
 to be operated upon is stretched over a table, upon which a 
 blanket is first laid, in order to ensure the necessary degree 
 of softness in the foundation for printing. Each block is 
 dipped into a colour and impressed upon the fabric. One 
 class of block printing which may be mentioned is that com- 
 monly employed for table covers. The cloth in this case is 
 usually of woollen, and by reason of its being easy distinguish- 
 able, and therefore forming a subject for examination by the 
 designer or student, it is mentioned here. The fabric is usu- 
 ally of red or green, with a design impressed upon it in black, 
 and to give gradation and softness of tone to the pattern, 
 stippling is largely resorted to. In the printing of these 
 goods the cloth is stretched over a table. A slab, upon which 
 the colour is laid, is placed in a convenient position, and so 
 that the block may be easily operated, a little mechanical con- 
 trivance of weighted cords is employed, by which the printer, 
 with little manual exertion, raises the block from the cloth, 
 swings it forward to the colour slab, and back again to the 
 fabric. With this brief reference, the subject of block print- 
 ing may be dismissed. 
 
 MACHINE FEINTING. 
 
 In times of keen competition it is apparent to all that, 
 in order to cater for the million, block printing, however 
 perfect it may be in its results, would be much too slow from 
 a productive point of view. Thus, machine printing has be- 
 come a very extensive industry, and the apparatus employed 
 has attained to the very highest pitch of excellence. The 
 illustration given in Fig. 128 represents an eight-colour 
 
CALICO FEINTING. 
 
 201 
 
 duplex calico printing machine, made by Mr. Thomas 
 Gadd. It has been specially constructed for the pro- 
 duction of cloths up to sixty inches wide, having a pattern 
 on both sides, and so perfect is it in its action that the 
 colours accurately register or come exactly opposite each 
 other on each side of the cloth. But not only is this 
 machine adapted for producing an eight-colour rever- 
 sible fabric, but it is likewise capable of printing sixteen 
 colours on one side only. This appears a great number to 
 print at one operation, but it is by no means unusual, as an 
 examination of some cretonnes will easily demonstrate ; in- 
 deed, the same maker constructs machines to print as many 
 as twenty colours. The illustration gives a perspective view 
 of the eight-colour duplex machine, one end and side being 
 clearly visible. Upon the latter portion of the view two 
 drums will be noticeable, and at the end the rollers or cylin- 
 ders corresponding with one of these drums are shown. At 
 the opposite end of the machine are the rollers corresponding 
 with the second drum. This mode of construction differs in 
 one important point from that employed for a single-colour 
 machine, as in the latter case there is but one drum, the 
 rollers being arranged at each side of this instead of at one 
 side of each drum, as in the duplex machine. A colour box 
 with furnishing roller is fixed immediately under each roller, 
 and steel blades called doctors are employed to remove the 
 colour from the plain portions of the rollers. Blankets for 
 printing upon are employed, as in the case of block printing. 
 In this particular machine every possible improvement which 
 can tend towards its more perfect operation has been made, 
 but as it would be impossible to particularise these without 
 a comparison with other machines, there is no necessity to 
 speak of them here. Each roller employed is engraved 
 around its circumference with the ornamentation represented 
 by one colour of the design. In the case under notice there 
 
202 DECOEATIVE AND FANCY TEXTILE FABEICS. 
 
 are eight differently engraved rollers, and these eight are 
 duplicated, a complete set being required at each end of the 
 machine. The fabric to be printed upon runs tightly around 
 the drums, and as it runs it receives the impressions from 
 the rollers. The printing of two sides at one operation is 
 easily understood. Supposing the fabric comes up the side 
 and over the top of one drum during its progress, it is re- 
 ceiving the imprint of the pattern on one side of the fabric. 
 When the cloth passes down between the two drums, and, 
 crossing over to the other one, passes under and up the side 
 of this, it receives the imprint on the reverse side. Such is 
 a simple and brief description of one of these interesting and 
 valuable pieces of mechanism. 
 
 INTERMITTENT MACHINE. 
 But a more ingenious apparatus is the intermittent 
 calico printing machine, employed in the production of 
 fabrics where one continuous pattern is not requisite — for 
 instance, in dado curtains, shawls and sarees. This 
 latter, it may be mentioned, is the principal garment of 
 a Hindoo woman, and is wrapped around the body, one 
 portion being taken over the left shoulder, and the other 
 hanging down in front. These sarees are of considerable 
 length, and certain portions are of different ornamentation. 
 Now it is obvious that to change from one pattern to 
 another, whilst printing upon one and the same piece of fabric, 
 some other arrangement must be employed than that usual in 
 ordinary calico printing, and here comes in the intermittent 
 system. In the machine constructed by Mr. Thomas Gadd, 
 three rollers are required for each colour, one for the border, 
 one for the crossbar, and one for the main portion of the 
 pattern. By the adoption of ingenious mechanism, these 
 rollers are caused to come into, or retire from, contact with 
 the cloth, just whenever required, so that no two are in 
 operation at one and the same time. As soon as the pattern 
 
CALICO PRINTING-. 
 
 203 
 
 eng-raved upon one roller has been impressed upon the fabric, 
 the next roller is brought into contact with the cloth, and 
 continues running and printing a new design, until it is 
 suc(ceeded by another roller. The crossbar patterns may be 
 printed from rollers of 36, 45 or 54 inch circumference, and 
 the border and body patterns from rollers of 18 inch circum- 
 ference. After the crossbar design has been imparted to the 
 cloth once, the roller is caused to retire, and in its place the 
 
 Fig. 129. 
 
 body or filling roller comes into operation and continues run- 
 ning until the necessary length has been acted upon. In 
 other words, whilst the crossbar roller may revolve once only, 
 the fining roller may make several revolutions before another 
 change is required. With this machine, different combina- 
 tions of rollers are possible — for instance, 18 inch border and 
 body rollers can be used with crossbar rollers of any of the 
 above-named dimensions, and various body or filhng designs 
 
204 DECORATIVE AND FANCY TEXTILE FABRICS. 
 
 may be printed between one crossbar and another. Sarees 
 are made of varying lengths, up to ten yards, but, by the 
 addition of change wheels, a greater length can be printed. 
 
 CRETONNE DESIGNS. 
 
 The production of cretonne patterns calls for the utmost 
 artistic skill and abihty, and in this respect French de- 
 signers take the palm. Many of the patterns which come 
 from the studios of Paris are really nothing less than 
 
 works of art. In a previous chapter, it was stated that, for 
 certain purposes, French patterns were not at all practical 
 — too much being attempted, with the result that, when pro- 
 duced in the cloth, much of the beauty had vanished. But 
 in the case of cretonnes, this is not so. When an artist has 
 scarcely a limit placed upon the number of colours he can 
 use, when he can employ 12, 16 or 20 colours, or even more 
 than these, by what is known as super-position, it will 
 
CALICO FEINTING. 
 
 205 
 
 136 qbvious that, with ability, such as French designers as 
 a rule possess, the production of an artistic pattern for a 
 cretonne becomes a much easier matter than where a design 
 is controlled within the narrow limits of striped warps and 
 changing shuttles. But granting to Frenchmen great skill 
 in this direction, it is open to doubt whether English 
 •designers receive sufficient encouragement from the general 
 run of cretonne printers. Bepresentatives of the best English 
 
 Fig. 131. 
 
 houses make periodical visits to Paris, where they spend 
 some time in the studios purchasing designs, and, possibly, 
 in other ways having a happy time. The English designer 
 calls upon these firms and is lucky if he does business. There 
 is little doubt that, with due encouragement, much of the 
 French trade might pass into the hands of English artists at 
 no distant period. The trade in cretonne designs is quite 
 worthy of the attention of home artists, the main considera- 
 
206 
 
 DECORATIVE AND FANCY TEXTILE FABRICS. 
 
 tion being the price paid, which is good. It has been stated 
 over and over again that the charge for one of these patterns- 
 runs to a sovereign for each colour used, and, as cahco print- 
 ing machines are made to print up to twenty colours, the 
 charges are easily estimated. In designing for calico prints, 
 it is scarcely necessary to state that the pattern is in all 
 respects an exact facsimile of the finished fabric. For every 
 colour in the design, an engraved roller or cylinder is re- 
 — ^ — 
 
 Fig. 132. 
 
 quired, and, whilst in block printing the engravings are raised, 
 those used in machine printing are sunk. It would be im- 
 possible to give a good example of a cretonne pattern, as 
 these are usually too extensive in repeat and contain too 
 many colours to be reproduced in an engraving. Fig. 129 is 
 a simple pattern in imitation of a woven design, and although 
 this is by no means offered as a fair example, for the reason 
 above stated, it will, nevertheless, serve the purpose of illus- 
 
CALICO FEINTING. 
 
 207 
 
 trating these remarks. The figure represents the finished 
 cretonne. Fig. 130 shows the hght grey portion of the 
 piattern, which would be engraved on a roller by itself. 
 Fig. 131 is the dark grey roller, and Fig. 132 represents the 
 black roller. Thus there is a three-colour pattern on a white 
 gTound, as seen in Fig. 129. But if such a pattern were 
 actually to be employed, it would be usually printed upon a 
 coloured ground — pale blue, pink, primrose, or some such 
 shade. In order to do this, the ground colour would be 
 " padded," that is to say, it would be printed on a machine 
 with one roller, and the pattern would be printed upon this 
 in suitable colours. In some cases, designers of cretonnes 
 exercise a method whereby more colours are obtained in a 
 design than there are rollers in the machine upon which it 
 is to be printed. This is known as super-position and is 
 easily understood. Suppose in a certain pattern there are 
 five colours — black, red, blue, yellow and orange. This 
 could be printed in a four-colour machine by engraving that 
 portion required in orange both on the yellow and the red 
 rollers, so that, in the actual printing, the red would fall upon 
 the yellow and thus produce orange. But this method re- 
 quires the exercise of a great amount of experience before it 
 can be successfully employed to any extent, and it is there- 
 fore better left alone by the student, or he might end in the 
 production of patterns which would be worthless, from a prac- 
 tical point of view. In designing for cretonnes, nature is more 
 closely followed, both in form and colour, than in any other 
 branch. It is therefore essential that the designer should 
 have a good knowledge of plant form, with undoubted ability 
 in the use of his pencil and brush. 
 
Catalogue 
 
 OF 
 
 Speeial ^eednieal ^ooks 
 
 FOR 
 
 Manufacturers, Techmical Students and 
 . Workers, Schools, Colleces, etc. 
 
 BY EXPERT WRITERS 
 
 Agricultural Chemistry 
 Air, Industrial Use of 
 Alum and its Sulphates 
 Ammonia 
 Aniline Colours 
 
 Animal Fats 
 
 Anti-corrosive Paints 
 Architecture, Terms in 
 Architectural Pottery 
 Artificial Perfumes... 
 Balsams 
 Bibliography 
 
 Bleaching 
 
 Bone Products 
 Bookbinding 
 Brick-making 
 Burnishing Brass ... 
 Carpet Yarn Printing 
 
 Celluloid 
 
 Ceramic Books 
 Charcoal 
 
 Chemical Essays ... 
 Chemistry of Pottery 
 Chemistry of Dye-stufPs 
 Clay Analysis 
 Coal-dust Firing 
 Colour Matching ... 
 Colliery Recovery Work 
 Colour-mixing for Dyers 
 Colour Theory 
 Combing Machines... 
 Compounding Oils ... 
 Condensing Apparatus 
 Cosmetics 
 Cotton Dyeing 
 Cotton Spinning 
 Damask Weaving ... 
 Dampness in Buildings 
 Decorators' Books ... 
 Decorative Textiles 
 Dental xMetallurgy ... 
 Dictionaryof Paint Materials 2 
 
 Drying Oils 5 
 
 Drying with Air 12 
 
 Dyeing Marble 30 
 
 Dyeing Woollen Fabrics ... 23 
 
 Dyers' Materials 22 
 
 Dye-stuffs 23 
 
 Electric Wiring ... ... 27 
 
 Electricity in Collieries ... 25 
 
 Enamelling Metal 18 
 
 Enamels 18 
 
 Engraving ... ... ... 31 
 
 PAGE 
 ... 10 
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 ... 6 
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 ... 29 
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 14, 15 
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 14, 15, 16 
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 22 
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 . 20 
 25 
 
 INDEX TO SUBJECTS. 
 
 PAGE 
 
 Essential Oils 7 
 
 Extracts, Wood 29 
 
 Evaporating Apparatus ... 26 
 
 External Plumbing 27 
 
 Fats 5, 6 
 
 Faults in Woollen Goods... 21 
 
 Fruit Preserving 30 
 
 Gas Firing 26 
 
 Glass-making Recipes ... 16 
 
 Glass Painting 17 
 
 Glue Making and Testing... 8 
 Greases ... ... ... s 
 
 Hat Manufacturing ... 20 
 History of Staffs Potteries 16 
 
 Hops 28 
 
 Hot-water Supply 28 
 
 How to make a Woollen Mill 
 
 Pay 21 
 
 India-rubber 13 
 
 Industrial Alcohol 10 
 
 Inks 3, 11 
 
 Iron-corrosion ... ... 4 
 
 Iron, Science of ... ... 26 
 
 Japanning 28 
 
 Lace-Making 20 
 
 Lacquering 27 
 
 Lake Pigments 2 
 
 Lead and its Compounds ... 11 
 
 Leather Industry 13 
 
 Leather-working Materials 14 
 
 Lithography 31 
 
 Lubricants 5, 6 
 
 Manures 8, 10 
 
 Meat Preserving 30 
 
 Mineral Pigments 3 
 
 Mineral Waxes 6 
 
 Mine Ventilation 25 
 
 Mine Haulage 25 
 
 Mining, Electricity ... 25 
 
 Needlework 20 
 
 Oil and Colour Recipes ... 3 
 
 Oil Boiling s 
 
 Oil Merchants' Manual ... 6 
 
 Oils 5 
 
 Ozone, Industrial Use of.. 12 
 
 Paint Manufacture 2 
 
 Paint Materials 3 
 
 Paint-material Testing ... 4 
 
 Paint Mixing 28 
 
 Paper-Mill Chemistry ... 17 
 
 Paper-pulp Dyeing 17 
 
 Petroleum 6 
 
 Pigments, Chemistry of ... 2 I 
 
 PAGE 
 
 Plumbers' Work 27 
 
 Porcelain Painting 17 
 
 Pottery Clays 16 
 
 Pottery Decorating ... 15 
 Pottery Manufacture ... 14 
 Power-loom Weaving ... 19 
 
 Preserved Foods 30 
 
 Printers' Ready Reckoner 31 
 " ■ ' ■ 3 
 3 
 ID 
 12 
 16 
 27 
 9 
 11 
 22 
 18 
 26 
 7 
 21 
 
 Printing Inks 
 Recipes for Oilmen, etc. 
 Resins... 
 
 Risks of Occupations 
 Riveting China, etc. 
 Sanitary Plumbing 
 Scheele's Essays ... 
 Sealing Waxes 
 
 Silk Dyeing 
 
 Silk Throwing 
 Smoke Prevention ... 
 
 Soaps 
 
 Spinning 
 
 Staining Marble, and Bone 30 
 
 Steam Drying 
 
 Sugar Refining 
 
 Steel Hardening 
 Sweetmeats... 
 
 Tanning Extracts 
 
 Technical Schools, Hand 
 
 book to the 
 
 Terra-cotta ... 
 Testing Paint Materials .'. 
 
 Testing Yarns 
 
 Textile Fabrics 
 Textile Materials ... 
 Timber 
 Varnishes 
 Vegetable Fats 
 Vegetable Preserving 
 Waste Utilisation ... 
 Water, Industrial Use 
 Waterproofing Fabrics 
 Waxes 
 
 Weaving Calculations 
 White Lead and Zinc 
 Wood Distillation ... 
 Wood Waste Utilisation 
 Wood Dyeing 
 Wool Dyeing 
 Writing Inks 
 X-Ray Work 
 Yarn Testing 
 Zinc White Paints 
 
 12 
 32 
 26 
 30 
 
 29 
 
 32 
 ... 15 
 ... 4 
 ... 20 
 ... 20 
 19, 20 
 ... 29 
 
 ... S 
 ... 7 
 
 ... 30 
 ... 11 
 ... 12 
 ... 21 
 ... 6 
 ... 21 
 ... 4 
 ... 29 
 ... 29 
 ... 30 
 22,23 
 ... 11 
 ... 13 
 ... 20 
 ... 4 
 
 PUBLISHED BY 
 
 SCOTT, GREENWOOD & SON. 
 
 8 Broadway, Ludgate Hill, 
 London, E.G. 
 
 Telegraphic Address, "Printeries, London" 
 
 TelepI{one, Bank 5403. 
 
2 
 
 Paints, Colours and Printing 
 Inks. 
 
 THE CHEMISTRY OP PIGMENTS. By Ernest J. Parry, 
 B.Sc. (Lond.), F.I.C., F.C.S., and J. H. Coste, F.I.C, F.C.S. Demy 
 8vo. Five Illustrations. 285 pp. Price 10s. 6d. net. (Post free^ 
 10s. ibd. home; lis. 3d. abroad.) 
 
 Contents. 
 
 Introductory. Light — White Light— The Spectrum— The Invisible Spectrum— Normal' 
 Spectrum— Simple Nature of Pure Spectral Colour— The Recomposition of White Light- 
 Primary and Complementary Colours— Coloured Bodies— Absorption Spectra— The AppH= 
 cation of Pigfrnents. Uses of Pigments : Artistic, Decorative, Protective— Methods of 
 Application of Pigments : Pastds and Crayons, Water Colour, Tempera Painting, Fresco,. 
 Encaustic Painting, Oil-colour Painting, Keramic Art, Enamel, Stained and Painted Glass, 
 Mosaic— Inorganic Pigment*. White Lead— Zinc White— Enamel White— Whitening- 
 Red Lead — Litharge— Vermilion— Royal Scarlet— The Chromium Greens — Chromates of Lead^ 
 Zinc, Silver and Mercury — Brunswick Green— The Ochres— Indian Red— Venetian Red — 
 Siennas and Umbers— Light Red— Cappagh Brown— Red Oxides— Mars Colours— Terre Verte 
 — Prussian Brown — Cobalt Colours — Cceruleum — Smalt— Copper Pigments— Malachite — 
 Bremen Green — Scheele's Green — Emerald Green — Verdigris— Brunswick Green — Non- 
 arsenical Greens — Copper Blues— Ultramarine— Carbon Pigments— Ivory Black— Lamp Black 
 — Bistre— Naples Yellow— Arsenic Sulphides ; Orpiment, Realgar— Cadmium Yellow — 
 Vandyck Brown — Organic Pigments. Prussian Blue — Natural Lakes — Cochineal — Carmine 
 — Crimson — Lac Dye — Scarlet — Madder — Alizarin— Campeachy— Quercitron— Rhamnus — 
 Brazil Wood — Alkanet — Santal Wood— Archil— Coal-tar Lakes— Red Lakes — Alizarin Com- 
 pounds — Orange and Yellow Lakes — Green and Blue Lakes— Indigo — Dragon's Blood — 
 Gamboge— Sepia — Indian Yellow, Puree — Bitumen, Asphaltum, Mummy— Index. 
 
 THE MANUFACTURE OP PAINT. A Practical Handbook 
 for Paint Manufacturers, Merchants and Painters. By J. Cruickshank 
 Smith, B.Sc. Demy Svo. 200 pp. Sixty Illustrations and One Large 
 Diagram. Price 7s. 6d. net. (Post free, 7s. lOd. home ; 8s. abroad.) 
 
 Contents. 
 
 Preparation of Raw Material — Storing of Raw Material — Testing and Valuation of Raw 
 Material — Paint Plant and Machinery— The Grinding of White Lead— Grinding of White 
 Zinc — Grinding of other White Pigments — Grinding of Oxide Paints — Grinding of Staining 
 Colours— Grinding of Black Paints— Grinding of Chemical Colours— Yellows— Grinding of 
 Chemical Colours — Blues — Grinding Greens — Grinding Reds — Grinding Lakes— Grinding; 
 Colours in Water — Grinding Colours in Turpentine — The Uses of Paint — Testing and Matching 
 Paints — Economic Considerations — Index. 
 
 DICTIONARY OF CHEMICALS AND RAW PRO- 
 DUCTS USED IN THE MANUFACTURE OP 
 PAINTS, COLOURS, VARNISHES AND ALLIED 
 PREPARATIONS. By George H. Hurst, F.C.S. Demy 
 5vo. 380 pp. Price 7s. 6d. net. (Post free, 8s. home ; 8s. 6d. abroad.) 
 
 THE MANUFACTURE OP LAKE PIGMENTS FROM 
 ARTIFICIAL COLOURS. By Francis H. Jennison, 
 F.I.C, F.C.S. Sixteen Coloured Plates, showing: Specimens of 
 Eii^hty-nine Colours, specially prepared from the Recipes given 
 in the Book. 136 pp. Demy 8vo. Price 7s. 6d. net. (Post free,, 
 7s. lOd. home; 8s. abroad.) 
 
 contents. 
 
 The Groups of the Artificial Colouring Matters — The Nature and Manipulation of Artificial 
 Colours — Lake-forming Bodies for Acid Colours — Lake-forming Bodies' Basic Colours — Lake 
 Bases — The Principles of Lake Formation — Red Lakes — Orange, Yellow, Green, Blue, Violet: 
 and Black Lakes — The Production of Insoluble Azo Colours in the Form of Pigments — The; 
 General Properties of Lakes Produced from Artificial Colours — Washing, Filtering and Fin- 
 ishing — Matching and Testing Lake Pigments — Index. 
 
3 
 
 PAINTS, COLOURS, ETC.— continued. 
 THE MANUFACTURE OF MINERAL AND LAKE 
 PIGMENTS. Containing Directions for the Manufacture 
 of all Artificial, Artists and Painters' Colours, Enamel, Soot and Me- 
 tallic Pigments. A Text-book for Manufacturers, Merchants Artists 
 and Painters. By Dr. Josef Bersch. Translated by A. C. Wright 
 M.A. (Oxon.), B.Sc. (Lond.). Forty-three Illustrations. 476 pn demv 
 8vo. Price 12s. 6d. net. (Post free, 13s. home ; 13s. 6d. abroad.) 
 
 Contents. 
 
 *hJMT'^'^^l°"~K^K^'''°'''^^""?^^- I^^h^'vio"'- of Pigments-Raw Materials Employed in 
 the Manufacture of Pigments-Assistant Materials-Metallic Compounds-The Manuf-acture 
 ot Mmtral P,gments-The Manufacture of White Lead-Enamel White-Washing Apparatus 
 nf?'"''v^'"'^n~^^'"°* n"^'"^^^' Pig-^ents- Chrome Yellow-Lead Oxide pXents- 
 Other Yellow P,gnients-Mosaic Gold-Red Mineral Pigments-The ManufacturL of Ver- 
 m,l,on-Ant,mony Verm,l,on--Ferric Oxide Pigments-ofher Red Mineral Pigments-Purpla 
 of Cass>us-Blue Mineral Pigments- Ultramarine- Manufacture of Ultramarine-- Bfue 
 Copper Pigments -Blue Cobalt Pigments-Smalts-Green Mineral Pigme™ts-Emera"d 
 men.«~X^ ^^X~^'"'°'"'"o-°'"'^^-°''^^'' Chromium Pigments-Green CobaTt pIg 
 
 ^^nff^R*"^^" Manganese Pigments-Compounded Green Pigments-Violet Mineral pl 
 ments-Brown Mineral Pigments-Brown Decomposition Products-Black Pigments--Manu- 
 Sn,?t°rh °K P'8"J=nts-Manufacture of Lamp Black-The Manufacture oT soot B?ack 
 vl^euLle'^t'onreViS^rts.'"'-^"'''""' Colours-Metallic Pigments-Bronze Pigments-^ 
 Pigments op Organic ORiGiN-Lakes- Yellow Lakes-Red Lakes-Manufacture of 
 Carmine- rhe Colouring Matter of Lac-Safflower or Carthamine Red--Madder and 
 Red WooTf at\"'Tr r^f ^^^^^Z^^"^' L'"'^'''" Madder)-Lichen Colouring Matters-I 
 itL ^ A n ^^^^ Matters of Sandal Wood and Other Dye Woods-Blue 
 
 Pfi'^;/. il^n^r T'"^~w%^° ?T'"« ^^^^r^'^' °f Log Wood-Green Lakes-Brown Organic 
 Pigments-Sap Colours- Water Colours-Crayons-Confectionery Colours-The Preparation 
 
 •Test^Xf n °w TKW:^-^'''?'"^A'r °f Pigments-Examination of Lakes-The 
 IZl^i ""'^^TJ!" P^^'i" °^ ^ Works-Commercial Names of Pigments- 
 
 -teomU';rSc~^ 
 
 RECIPES FOR THE COLOUR, PAINT, VARNISH OIL 
 SOAP AND DRYSALTERY TRADES. Compiled by 
 An Analytical Chemist. 350 pp. DemySvo. Price 7s. Cel. net (Post 
 free, 8s. home ; 8s. 3d. abroad.) 
 
 Contents. 
 
 Pigments or Colours for Paints, Lithographic and Letterpress Pnntine Inks etc- 
 Mixed Pamts and Preparations for Paint-making, Painting, Lime-washing P-iDerhancfnP 
 «tc.- Varnishes for Coach-builders, Cabinetmakers, Wood-workers, CLlwoS ph^ot^^^ 
 Sraphers, etc.-Soaps for Toilet, Cleansing, Polishing, etc.- Perfumes-Lubrrcating Greases 
 Oils. etc.-Cements, Pastes Glues and Other Adhesive Preparations- Writrng^Markinfi ' 
 irtchen"*^S^t^hi?''''V r'~^T"',:j^-"'^? 'fU'^ ,9'^'^' Requisites-Preparations for the Laundry, 
 -Prlparation^-^ Index Household Uses-Disinfectant Preparations-Miscellaneous 
 
 OIL COLOURS AND PRINTERS' INKS. By Louis 
 Edgar Andes. Translated from the German. 215 pp. Crown 8vo 
 56 Illustrations. Price 5s. net. (Post free, 5s. 4d. home ; 5s. 6d. abroad.) 
 Contents. 
 
 LinsIed^O.I^RT.^TP^^^''"^^^'''???'''?^ Purification of Linseed Oil-Chemical Purification of 
 Linseed Oil-Bleaching Linseed Oil-Oxidizing Agents for Boiling Linseed Oil-Theorv of 
 
 oiher° Sot";;! rtr;f S"-^'^""."'-^ ^""^'^ Of-Chinese Drying Oi7and 
 
 Other Special ties-Pigments for House and Artistic Painting and Inks— Pigment for 
 pTk^'' m'^^u- '"ks-Substitutes for Lampblack-Machinery for Colour Grindfng and 
 Hou."^Oir Pai'nT '^W '"'^r"'' -^'"V"^' Vehicle-Paint M^s-ManSre of 
 
 T7^uf/."r - ^"-'^""^^'P Paints- Luminous Paint — Artists Cclourg— Printers' Inks — 
 VEHICLEd-Pnnters' Inks :-PIGMF.NTS and MANUFACTURE-Index 
 
 (See also Writing Inks, p. ii.) 
 
 THREE HUNDRED SHADES AND HOW TO MIX 
 THEM. For Architects, Decorators and Painters. 
 
 (See page 28.) 
 
4 
 
 PAINTS, COLOURS, ETC.— continued. 
 CASEIN. By Robert Scherer. Translated from the German 
 by Chas. Salter. Demy 8vo. Illustrated. 160 pp. Price 7s. 6d. 
 net. (Post free, 7s. lOd. home ; 8s. abroad.) 
 
 Contents. 
 
 Casein • its Origin, Preparation and Properties. Various Metliods of Preparing 
 Casein. Composition and Properties of Casein. Casein Paints -'■ Marble-L.me 
 Colour for Outside Work-Casein Enamel Paint-Casein Fa9ade Pamt— Cold- Water Paint in 
 Powder Form— History's Recipe for Casein Paint and Varnish— Pure Casein Paints for Walls, 
 etc.-Casein Paints for Woodwork and Iron-Casein-Silicate Paints-Milk Paints-Casein- 
 Silicate Paint Recipes— Troj el's Boiled Oil Substitute-Cal-omine Wash-Quick-Drying 
 Casein Paint-Boiled Oil Substitute-Ring's Cold-Water Paint-Formolactin-Waterproof 
 Paint for Playing Cards— Casein Colour Lake -Casein-Ce nent Paint. Tile Technics ot 
 Casein Painting. Casein Adliesives and Putties.-Casein Glue m . Plates or Flakes- 
 Jerom.n's Casein Adhesive-Hall's Casein Glue- Waterproof Glue-Liquid Casein Gkie- 
 Casein and Borax Glue-Solid Casein Adhesive— Casein Sjlution-Glue Powder-Casein 
 Puttier— Washable Cement for Deal Boards— Wenk's Casein Cement— Casein and Lime Cement 
 -"Pitch Barm "-Casein Stopping-Casein Cement for Stone. Tlie Preparation of 
 Plastic Masses from Casein —Imitation Ivory— Anti-Radiation and Anti-Corrosive Com- 
 position-Dickmann's Covering for Floors and Walls-Imitation Linoleum-Imitation 
 Leather-Imitation Bone-Plastic Mass of Keratin and Casein---InsuUting Mass-Plastic 
 Casein Masses-Horny Casein Mass— Plastic Mass from Celluloid— Casein Cellulose Compo- 
 sition—Fireproof Cellulose Substitute— Nitrocellulose and Casein Composition— Franquet s 
 Celluloid Substitute-Galalith. Uses of Casein in tiie Textile Industry, for Finisliing: 
 Colour Printing, etc.— Caseogum—" Glutin "—Casein Dressing for Linen and Cotton 
 Fabrics— Printing Colour with Metallic Lustre— Process for Softening, Sizing and Loading- 
 Fixing Casein and Other Albuminoids on the Fibre— Fixing Insoluble Colouring Alatters— 
 Waterproofing and Softening Dressing-Casein for Mercerising Crepe-Fixmg Zinc 'White on 
 Cotton with Formaldehyde-Casein-Magnesia-Casem Medium for Calico Printing-Loading 
 Silk. Casein Foodstuffs.-Casein Food-Synthetic Milk-Milk Food-Emulsifiable Casein 
 —Casein Phosphate for Baking— Making Bread, Low in Carbohydrates, from Flour and Curd 
 —Preparing Soluble Casein Compounds with Citrates— Casein Food. Sundry Applications 
 of Casein. 
 
 SIMPLE METHODS FOR TESTING PAINTERS' 
 MATERIALS. By A. C. Wright, M.A. (Oxen.), B.Sc. 
 (Lond.). Crown Svo. 160 pp. Price 5s. net. (Post free, 5s. 3d. 
 home ; 5s. 6d. abroad.) 
 
 IRON - CORROSION, ANTI FOULING AND ANTI- 
 CORROSIVE PAINTS. Translated from the German of 
 Louis Edgar Andes. Sixty-two Illustrations. 275 pp. Demy Svo. 
 Price 10s. 6d. net. (Post free, 10s. lOd. home ; lis. 3d. abroad.) 
 
 Contents. ^ , , .u 
 
 Iron-rust and its Formation— Protection from Rusting by Paint— Grounding tne Iron with 
 Linseed Oil, etc.-Testing Paints— Use of Tar for Painting on Iron-Anti-corrosive P^ints- 
 Linseed Varnish-Chinese Wood Oil-Lead Pigments-Iron Pigments-Artiticial Iron Oxides 
 —Carbon— Preparation of Anti-corrosive Paints— Results of Examination of Several Anti- 
 corrosive Paints— Paints for Ship's Bottoms— Anti-fouling Compositions— Various Anti-cor- 
 rosive and Ship's Paints— Official Standard Specifications for Ironwork Paints— Index. 
 
 THE TESTING AND VALUATION OF RAW MATE- 
 RIALS USED IN PAINT AND COLOUR MANU 
 FACTURE. By M. W. Jones, F.C.S. A Book for the 
 Laboratories of Colour Works. 88 pp. Crown Svo. Price 5s. net. 
 (Post free, 5s. 3d. home and abroad.) 
 
 THE MANUFACTURE AND COMPARATIVE MERITS 
 OF WHITE LEAD AND ZINC WHITE PAINTS. By 
 G. Petit, Civil Engineer, etc. Translated from the French. Crown Svo. 
 100 pp. Price 4s. net. (Post free, 4s. 3d. home ; 4s. 4d. abroad.) 
 Contents. 
 
 Chapters I., The Fundamental Principles of Painting in Oil. II., The Different Varieties of 
 White Leads-The Dutch Process-Grinding White Lead in Oil. III., Other Processes of 
 Manufacturing White Lead. IV , White Lead Substitutes-Sophistication of White Lead- 
 Analysis of White Lead. V., White Lead Paints-Their Merits and Defects^ ^liiVj^'' 
 cology of White Lead-Hygienic Measures in its Manufacture and Use. VII., Zinc White-- 
 Its Preparation. IX., Zinc White Paint and Zinc White Coatings-Their Merits and Defects. 
 
5 
 
 STUDENTS' HANDBOOK OF PAINTS, COLOURS, OILS 
 AND VARNISHES. By John Furnell. Crown 8 vo. 12 
 Illustrations. 96 pp. Price 2s. 6d. net. (Post free, 2s. 9d. home and abroad.) 
 
 Varnishes and Drying Oils. 
 
 OIL CRUSHING, REFINING AND BOILING THE 
 MANUFACTURE OF LINOLEUM, PRINTING AND 
 LITHOGRAPHIC INKS, AND INDIA-RUBBER 
 SUBSTITUTES. By John Geddes McIntosh. Being 
 Volume I. of the Second, greatly enlarged, English Edition, in three 
 Volumes, of "The Manufacture of Varnishes and Kindred Industries " 
 based on and including the work of Ach. Livache. Demy 8vo 150 pp 
 29 Illustrations. Price 7s. 6d. net. (Post free, 7s. lOd. home • 8s 
 abroad.) ' 
 
 VARNISH MATERIALS AND OIL-VARNISH MAKING. 
 
 By J. G. McIntosh. Being Vol. II. of " The Manufacture of Varnishes 
 and Kuidred Industries". Demy Svo. 70 Illustrations. 220 pn 
 Price 10s. 6d. net. (Post free, 10s. lOd. home ; 1 Is. 3d. abroad.) 
 Contents. 
 
 Chapter I., Introduction. 11., Amber and Amber Oil Varnishes. HI., Copal etc IV 
 !^^S'"S-Ass°rting, Cleaning and Fusing. V., Asphaltum, Coal-Tar, Pitch, Rubber etc Vl" 
 OiNyarn.sh Mak.ng-General Instructions. VII., Copal Oil Varn.sh. VIII., Rosin Oil Varnish 
 -Brunswick Black-Super Black Japan. IX., Testing Varnish-Utilisation of Residues. 
 
 DRYING OILS, BOILED OIL AND SOLID AND 
 LIQUID DRIERS. By L. E. Andes. Expressly Written 
 for this Series of Special Technical Books, and the Publishers hold 
 the Copyright for English and Foreign Editions. Forty-two Illustra- 
 tions. 342 pp. Demy Svo. Price 12s. 6d. net. (Post free, 13s. home • 
 13s. 3d. abi'oad.j ' 
 „ . , , Contents. 
 
 Tich^^ T A \?7u-^ ^'^V ^"""^^ °^ ''^'^ ^''y''"^ Property ; Absorption of Oxygen ; 
 Behaviour tovvards Metallic Oxides, etc.-The Properties of and Methods for obtaining th J 
 Drymg O.Is-Product.on of the Drying Oils by Expression and Extraction; Refining^ and 
 Bleaching; Oil Cakes and Meal ; The Refining and Bleaching of the DrWng Oils- The 
 Bleaching of Linseed Oil-The Manufacture of Boiled Oil; The Preparation of Drying ml 
 tor Use in the Grinding of Paints and Artists' Colours and in the Manufacture of Varnishes 
 Lu^l^'."^ °.^er a Fire or by Steam, by the Cold Process, by the Action of Air, and by Means 
 Oil and th'; A.^rT"'U^^%°'"'T' "^^'l.i" B°i'i"g finsee'd Oil; The Manufacture o"^ Boiled 
 Oil and the Apparatus therefor; Livache's Process for Preparing a Good Drying Oil and its 
 Practical Application-The Preparation of Varnishes for Letterpress, Lithographic and Copper 
 on BurTt Oif's°tL°H'ml^ p'' Waterproof Fabrics; The Manufacture of Thickened Lhfseed 
 Zl^n P' ■ 0,\by F're Heat, Superheated Steam, and by a Current of Air-Behaviour 
 
 H I /^A",^^ u 51"^ ^"'nt ^ towarcfs Atmospheric Influences, Water, Acids and Alkalies 
 -Boiled Oil Substitutes- 1 he Manufacture of Solid and Liquid Driers from Linseed Oil and 
 Drying oIl" and'^Boiled^Si']?" ' ° DHers-The Adulteration and Examination of the 
 
 Oils, Fats, Waxes, Greases, 
 Petroleum. 
 
 LUBRICATING OILS, FATS AND GREASES: Their 
 Origin, Preparation, Properties, Uses and Analyses. A Handbook for 
 Oil Manufacturers, Refiners and Merchants, and the Oil and Fat 
 Industry in General. By George H. Hurst, F.C.S. Second Revised 
 and Enlarged Edition. Sixty-five Illustrations. 317 pp. Demy Svo 
 Price 10s. 6d. net. (Post free. lis. home; lis. Jd. abroad.) 
 , , ^ . ^ . Contents. 
 
 An !i.rrn'!f*'"?'~*"^^''*"^5'"?^".?"*~Scotch Shale Oils-Petroleum-Vegetable and 
 AppTndices-IlIdfx."^ Adulteration of GiU -Lubricating Greases-Lubrication- 
 
6 
 
 TECHNOLOGY OF PETROLEUM : Oil Fields of the 
 World— Their History, Geography and Geology— Annual Production 
 and Development— Oil-well Drilling— Transport. By Henry Neu- 
 BERGER and Henry Noalhat. Translated from the French by J. G. 
 MclNTOSH. 550 pp. 153 Illustrations. 26 Plates. Super Royal 8vo. 
 Price 2l8. net. (Post free, 21s. 9d. home ; 238. 6d. abroad.) 
 Contents. 
 
 Study of the Petroliferous Strata, , . , „ 
 Excavations— Hand Excavation or Hand Digging of Oil Wells. 
 
 Acc^dents—Bl"^ng^ccidents— Methods of preventing them— Methods of remedying them 
 -Explosives and the use of the "Torpedo" Levigation-Storing and Transport of Petroleum 
 -General Advice-Prospecting, Management and carrying on of Petroleum Boring Operations. 
 
 General Data-Customlry Formulae-Memento. Practical Part General Data 
 be»ringon Petroleum-Glossary of Technical Terms used in the Petroleum Industry-Copious 
 Index. 
 
 MINERAL WAXES : Their Preparation and Uses. By 
 Rudolf Gregorius. Translated from the German. Crown 8vo. 250 
 pp. 32 Illustrations. Price 6s. net. (Post free, 6s. 4d. home ; 
 6s. 6d. abroad.) 
 
 Contents. 
 
 Ozokerite-Ceresine-Paraffin-Refining Paraffin-Mineral Wax-Appliances for 
 Extracting Distillinff and Refining Ozokerite-Uses of Ceresine, Paraffin and 
 M^eral Wkxes-Paint and Varnish Removers-Leather and Piston=Rod Greases- 
 Recipes for Silk, Cotton and Linen Dressings— Candles, i j ai^ -.A 
 
 THE PRACTICAL COMPOtJNDING"OP OILS, TAL- 
 LOW AND GREASE FOR LUBRICATION, ETC. 
 
 By An Expert Oil Refiner. Second Edition. 100 pp. Demy 8vo. 
 Price 7s. 6d. net. (Post free, 7s. lOd. home ; 8s. abroad.) 
 
 Contents. 
 
 Intr.iductorv Remarks on the General Nomenclature of Oils, Tallow and Greases 
 suitable for Kbrica^on- Hydrocarbon Oils- Animal and Fi«h Oils - Compound 
 Oils-Vegetable Oil.-Lamp Oils-Engine Tallow, Solid fled Oils and Petroleum 
 la lY- Machinery Greases : Loco and Anti-friction-Clarifying and Utilisation 
 of Waste Fats Oils, Tank Bottoms, Drainings of Barrels and Drums, Pickings 
 Up, Ks etc.-The Fixing and Cleaning of Oil Tanks, etc. -Appendix and 
 General Information. 
 
 ANIMAL FATS AND OILS: Their Practical Production, 
 Purification and Uses for a great Variety of Purposes. Their Pro- 
 perties Falsification and Examination. Translated from the German 
 of Louis Edgar Andes. Sixty-two Illustrations. 240 pp. Second 
 Edition, Revised and Enlarged. Demy 8vo. Price 10s. 6d. net. 
 (Post free, 10s. lOd. home; Us. 3d. abroad.) 
 
 THE MANUFACTURE OF LUBRICANTS, SHOE 
 POLISHES AND LEATHER DRESSINGS. By 
 
 Richard Brunner. Translated from the Sixth German Edition by 
 Chas. Salter. 10 Illustrations. Crown 8vo. 170 pp. Price 7s. 6d. 
 net. (Post free, 7s. lOd. home; 8s. abroad.) 
 
 THE OIL MERCHANTS' MANUAL AND OIL TRADE 
 READY RECKONER. Compiled by Frank F. Sherriff. 
 Second Edition Revised and Enlarged. Demy 8vo. 214 pp. 1904. 
 With Two Sheets of Tables. Price 7s. 6d. net. (Post free, 7s. lOd. 
 home ; 8s. 3d. abroad.) 
 
 Contents. 
 
 Trade Terms and Customs— Tables to Ascertain Value of Oil sold per cwt. or ton-Specific 
 Gravity Tables-Percentage Tare Tables-Petroleum Tables-Paraffine and Benzolme Calcu- 
 latrons-Customary Drafts-Tables for Calculating Allowance for Dirt, Water, etc.-Capac.ty 
 of Circular Tanks, Tables, etc., etc. 
 
7 
 
 VEGETABLE PATS AND OILQ. tu ■ -n • 
 
 tion, Purification and Eninlovmenf- fn v ^^^'"'^''^cUcal Prepara- 
 ties, Adulteration and ExSnation T ^''7' P^fP^^^s- their Proper- 
 Louis Edgar Andes. Sv our urT^l'^^ ^'^"^ ^^e German of 
 
 Essential Oils and Perfumes 
 
 T'HE CHEMISTRY OF ESSENTIAL oTt; 
 
 PICIAL PERFUMe4^ R i ARTI- 
 
 (Lond.) Fic Fcs^ ^.n-S^" Ernest J. Parry B Sc 
 20 Illuiirations.^ Demy ^^^""pHc^'r ' '^"^ ^"'--g^^' ^52 pp] 
 
 13s. 6d. abroad.) ^ ' P'^''^^ 12s. 6d. net. (Post free, 13s. home J 
 
 Contents. 
 
 Pinene-nn Th'o'A'' >f ^^/P^"«s-Sesquiterpenes-OleKn,> T„ '^*""P«"nds occurring- in. 
 
 N. O. Zingiberace^e fir Geraniol, N. O. Ariode^ N O r f ^ ^ngiosperms : 
 
 Soaps. 
 
 i-JiiJCTILE SOAPS AND OIT <? u , 
 
 tion, Properties and Analysis of 7.' ^"^"^'^^^^^ the Prepara- 
 Manufactl^ring, Dyeing a^^d Pr^t ^l ^?fP^«"d Oils used in Textil 
 
 STd-^broaif ^^P- -^-s.„^er^Prt\?e,t^^^^^^ 
 
 ^7..Srs^i^Sc.Xdrp\^™ B, 
 8vo. 160 nn 97 r,/^r^ and H. A. Appr PTr.Kj r. ^ 
 
 8« u 'PP' Illustrations. Price 8s fiH ^^f^'^^ON. Demy 
 
 «s. lOd. home; 9s. abroad.) • "^t- (Post free, 
 
 and Bertbelot— iVIixed 
 " ' (1) Heat or 
 (3) Chemical 
 
8 
 
 Reagents, Sulphuric Acid. TwitcheU^s Reagent Hydroch^^^^^^^ 
 
 Ox.*! Soda and Potash. Materials used .n Soap-^^^ p^^^ oils 
 
 Fats-Fatty Acids-Less-knoxvn 0,ls ^ ^^'^ °f,Virand Carbonated)- Water- alt-Soap- 
 Suggested tor Soap-maUing-Rosm-AlUah (Caustic ana ^^'j Soap-making.- 
 
 stoik. Bleaching and Treatment of pRf,^ . .^^^^/Jf^^^^^ Fats-Bone Fat- 
 
 Palm Oil-Cottonseed O.l-Cottonseed ' J^f^.'^f 'e^o„,bination of Fatty Acids w.th 
 
 Rosin. Soap= making. -CU.ssificat.on of Soap^^^ Increased or Diminished Pressure-Soft 
 Alkali-Cold Process Soaps-Sapon.hcatK.n under Increas Saponificat.on- 
 ioap-Marine Soap-Hydrated So^P^A.f '^°!!^i,f,"d''soa^^^^^^ Mottled-Blue and Grey 
 
 Grainini^ Out-Boilmg on Strength-Fittmg Cura 3(wp^ Settling of 
 
 Mottled Soaps-Milling Base-Yello.v Household Soa^^^^^ Oil-Electrical Pro- 
 
 Soap-U.ilisation of N-gres-Transpa ent Soaps S^^^^^ So^aps 
 duction of Soap. Treatment 9* Settled Soap U^^^ Soaps-Framing-Slabbing 
 -Filling-Neutralising, Colouring and ""^'"4^^^' i„g_Cooling. Toilet, Textile and 
 -Barring-Open and Close P'''"g-^^>'"^7„^ess |oa1,s-Settled Boiled Soap-Remelted 
 Miscellaneous Soaps.-To.let Soaps-Cold P^oces^^^^^^ Perfumes, or Medicanrients 
 
 Soaps-Mi,led Soaps-Drying, Mil ing and /"'^"^P"/'*^' Material-Compress.ng- 
 -Prrfumes-Colouring Matter-NeutraliMng and Super^^^^^^ Soaps-Shaving Soaps- 
 Cutting-Stamping-Medicated „^°^P?-,E'''^'^„.^^X Industries-Patent Textile Soaps- 
 Textile Soaps-Soaps for Woollen, Cotton ^"'^ .^f^.^^rgo Jr^e Ld P 
 
 MTscellaneous Soaps Soap P«'-*«"e«^T^^^^t^^'^£iu4^^^^^^^^ and Purification.-Treat- 
 -Artificial and Synthetic Perfumes. . Q'y*^erine ma^^^^^ Dynamite 
 ment of Lyes-Evaporation-Crude G'^^^"" V/^'^^^^ for Decolorisation-Glycerme 
 Slycerine-Chemically P^^H^'^f %'r.t;;;ffka^ion-S of Glycerine from Fats and Oils, 
 resultant from other methods °f Saponihcation Y^ei_ Oils-Alkalies and Alkali 
 
 Analysis of Raw Materials Soap a d Qlycer n^^ Statistics of the Soap Industry. 
 
 of Caustic Potash Solutions at 6o° F. Index. 
 
 Cosmetical Preparations. 
 
 ISS COSMETIC SPECIALITIES. T— 
 
 ^^om the German of Dr. Theodor Koller. Crown 8vo. 262 pp. 
 pTiie 5s net. (Post free, 5s. 4d. home ; 5s. 6d. abroad.) 
 
 Purposes and Uses of, and Ingredien^^s'^Ifn^gpreparation C^-^J^^^^^^^ 
 PerKXs'by Pressure 'Distillation. MaceratK>n^^ ttep SaTat^'nofcrmf tics-Oils and Fats 
 Methods-Chemical and Animal P^.'lf cosS^^ Washes and 
 
 used in the Preparation of Cosmet.cs-General ^°^«'^'^=i,^t„Pj,3_ cosmetic Adjuncts and 
 Tooth Pastes- Hair Dyes, "^'"p ^^^^^.^^'^'^^An^ Washes and Soaps- Toilet and 
 
 Specialides-Colourmg Cosme^^^^^ Completion, Teeth, Mouth, etc.-Test.ng and 
 
 gx^l^n\ng^^1^atTiats ImpVoyed ^n the Manufacture of Cosmet.cs-Index. 
 
 Glue, Bone Products and 
 Manures. 
 
 GLUE AND GLUE TESTING. By Samuhe Ridead D.Sc^ 
 
 rLond ) F I.e. Fourteen Engravings. .44 pp. uemy ovo. 
 \os. 6d.'net. (Post free, 10s. lOd. home ; lis. abroad.) 
 
 constitution and Properties: ^ef'^t'^nf j|s^^^^^^^^^ 
 Bodies. Physical and Chemical P;-i2-%]'J%^^^^^^^^ Washing and Clari- 
 
 -Raw Materials and Manufacture . Glue ^oa^^^ ^, Bacteria and of Antisep ics, 
 
 Fi'-rP-ses Water Supp^^^^^ Secondary Produc^^^^^^^^^^^^ 
 
 b ndhirPnntiTg' Rollers, Hectographs Mate NU^^^^ 
 
 other Materials, Artificia Leather and Caoutchouc Oe^atine ^^^^^^.^^^ Silk, 
 Gelatine, Photographic Uses^ ^Ca° ExtracTs! Isinglass, Medicinal and other Uses, 
 
 Cements, P"eumat,c Tyres Cu,„ Meat E^^^^^^^^^ ^^g^.^^, Examination, Adulteration, 
 
 PhTs-fTe^s7s?'va!ua';f^^^^^ 
 
9 
 
 BONE PRODUCTS AND MANURES : An Account of the 
 most recent Improvements in the Manufacture of Fat, Glue, Animal 
 Charcoal, Size, Gelatine and Manures. By Thomas Lambert, Techni- 
 cal and Consulting Chemist. Illustrated by Twenty-one Plans and 
 Diagrams. 162 pp. Demy 8vo. Price 7s. 6d. net. (Post free, 7s. lOd. 
 home ; 8s. abroad.) 
 
 Contents. 
 
 iChemical Composition of Bones— Arrangement of Factory— Properties of Glue— Glutin 
 andl Chondrin— Skin Glue— Liming of SUins— Washing— Boiling of Skins— Clarification of Glue 
 Liq.uors— Glue-Boiling and Clarifying-House— Specification of a Glu.e— Size— Uses and Pre- 
 paration and Composition of Size— Concentrated Size— Properties of Gelatine— Preparation 
 of Skin Gelatine— Drying— Bone Gelatine— Selecting Bones— Crushing— Dissolving— Bleachinfi 
 —Boiling— Properties of Glutin and Chondrin— Testing of Glues and Gelatines— The Uses of 
 Oluie, Gelatine and Size in Various Trades— Soluble and Liquid Glues— Steam and Waterproof 
 Gluies— Manures— Importation of Food Stuffs— Soils— Germination— Plant Life— Natural 
 Manures— Water and Nitrogen in Farmyard Manure— Full Analysis of Farmyard Manure 
 —Action on Crops— Water-Closet System— Sewage Manure— Green Manures— Artificial 
 Manures- Mineral Manures— Nitrogenous Matters— Shoddy— Hoofs and Horns— Leather 
 Wa.ste— Dried Meat— Dried Blood— Superphosphates— Composition— Manufacture— Common 
 Raw Bones— Degreased Bones— Crude Fat— Refined Fat— Degelatinised Bones— Animal 
 Chaireoai— Bone Superphosphates— Guanos— Dried Animal Products— Potash Compounds- 
 Sulphate of Ammonia— Extraction in Zacuo— French and British Gelatines compared— Index. 
 
 Chemicals, Waste Products and 
 Agricultural Chemistry. 
 
 REISSUE OF CHEMICAL ESSAYS OP C. W. 
 SCHEELE. First Published in English in 1786. Trans- 
 lated from the Academy of Sciences at Stockholm, with Additions. 300 
 pp. Demy Svo. Price 5s. net. (Post free, 5s. 6d. home ; 5s. 9d. abroad.) 
 Contents. 
 
 Memoir: C. W. Scheele and his work (written for this edition by J. G. Mcintosh)— On 
 hluor Mineral and its Acid— On Fluor Mineral— Chemical Investigation of Fluor Acid 
 with a View to the Earth which it Yields, by Mr. Wiegler-Additional Information 
 Concerning Fluor Minerals — On Manganese, Magnesium, or Magnesia Vitrariorum — On 
 Arsenic and its Acid— Remarks upon Salts of Benzoin-On Silex, Clay and Alum-Analysis 
 ot the Calculus Vesical— Method of Preparing Mercurius Dulcis Via Humida— Cheaper and 
 more Convenient IWethod of Preparing Pulvis Algarothi-Experiments upon Molybdi«na 
 —Experiments on Plumbago— Method of Preparing a New Green Colour— Of the De- 
 composition of Neutral Salts by Unslaked Lime and Iron— On the Quantity of Pure Air which 
 IS Daily Present in our Atmosphere— On Milk and its Acid— On the Acid of Saccharum Lactis 
 —On the Constituent Parts of Lapis Ponderosus or Tungsten— Experiments and Observations 
 on Ether— Index. 
 
 THE MANUFACTURE OF ALUM AND THE SUL- 
 PHATES AND OTHER SALTS OP ALUMINA AND 
 IRON. Their Uses and Applications as Mordants in Dyeing 
 and Calico Printing, and their other Applications in the Arts, Manufac- 
 tures, Sanitary Engineering, Agriculture and Horticulture. Translated 
 from the French of Lucien Geschwind. 195 Illustrations. 400 pp 
 Royal Svo. Price 12s. 6d. net. (Post free, 13s. home ; 13s. 6d abroad.) 
 
 AMMONIA AND ITS COMPOUNDS : Their Manufacture 
 and Uses. By Cam ille Vincent, Professor at the Central School of 
 Arts and Manufactures, Paris. Translated from the French by M. J. 
 Salter. Royal Svo. 114 pp. Thirtv-two Illustrations. Price5s.net 
 (Post free, 5s. 4d. home ; 5s. 6d. abroad.) 
 _ . ^ . Contents. 
 
 Ueneral Considerations: Various Sources of Ammoniacal Products; Human Urine 
 as a Source of Ammonia— Extraction of Ammoniacal Products from Sewaee- 
 Extraction of Ammonia from Gas Liquor-Manufacture of Ammoniacal Com- 
 pounds from Bones, Nitrogenous Waste, Beetroot Wash and Peat— Manufacture o' 
 Caustic Ammonia, and Ammonium Chloride, Phosphate and Carbonate— Recovery 
 of Ammonia from the Ammonia-Soda Mother Liquors— Index. 
 
10 
 
 INDUSTRIAL ALCOHOL. A Practical Manual on the 
 Production and Use of Alcohol for Industrial Purposes and for Use as 
 a Heating Agent, as an lUuminant and as a Source of Motive Power. 
 By J. G. M'Intosh, Lecturer on Manufacture and Applications of 
 Industrial Alcohol at The Polytechnic, Regent Street, London. 
 Demy 8vo. 1907. 250 pp. With 75 Illustrations and 25 Tables. 
 Price 7s. 6d. net. (Post free, 7s. 9d. home ; 8s. abroad.) 
 Contents. 
 
 Alcohol and its Properties. — Ethylic Alcohol — Absolute Alcohol — Adulterations — 
 Properties of Alcohol — Fractional Distillation — -Destructive Distillation — Products of Com- 
 bustion — Alcoholometry — Proof Spirit — Analysis of Alcohol — Table showing Correspondence 
 between the Specific Gravity and Per Cents, of Alcohol over and under Proof — Other 
 Alcohol Tables. Continuous Aseptic and Antiseptic Fermentation and Sterilisation 
 in Industrial Alcohol Manufacture. The Manufacture of Industrial Alcohol from 
 Beets. — Beet Slicing Machines — Extraction of Beet Juice by Maceration, by Diffusion — 
 Fermentation in Beet Distilleries — Plans of Modern Beet Distillery. The Manufacture of 
 Industrial Alcohol from Grain.— Plan of Modern Grain Distillery. The Manufacture of 
 Industrial Alcohol from Potatoes. The Manufacture of Industrial Alcohol from 
 Surplus Stocks of Wine, Spoilt Wine, Wine Marcs, and from Fruit in General. The Manu- 
 facture of Alcohol from the Sugar Cane and Sugar Cane Molasses — Plans. Plant, etc., 
 for the Distillation and Rectification of Industrial Alcohol. — The Caffey and other 
 "Patent" Stills — Intermittent versus Continuous Rectification — Continuous Distillation — 
 Rectification of Spent Wash. The Manufacture and Uses of Various Alcohol 
 Derivatives, Ether, Haloid Ethers, Compound Ethers, Chloroform — Methyl and Amyl 
 Alcohols and their Ethereal Salts, Acetone — Barbet's Ether, Methyl Alcohol and Acetone 
 Rectifying Stills. The Uses of Alcohol in Manufactures, etc.— List of Industries in 
 which Alcohol is used, with Key to Function of Alcohol in each Industry. The Uses of 
 Alcohol for Lighting:, Heating, and Motive Power. 
 
 ANALYSIS OP RESINS AND BALSAMS. Translated 
 from the German of Dr. Karl Dieterich. Demy Svo. 340 pp. 
 Price 7s. 6d. net. (Post free, 7s. lOd. home ; 8s. 3d. abroad.) 
 
 MANUAL OF AGRICULTURAL CHEMISTRY. By 
 
 Herbert Ingle, F.I.C., Late Lecturer on Agricultural Chemistry, the 
 Leeds University ; Lecturer in the Victoria University. Second 
 Edition, with additional matter relating to Tropical Agriculture, etc. 
 438 pp. 11 Illustrations. Demy 8vo. Price 7s. 6d. net. (Post free, 
 8s. home ; 8s. 6d. abroad.) 
 
 ContentSs 
 
 Properties and Characteristics of the Elements.— Hydrogen— Oxygen— Heat of Com- 
 bustion — Nitrogen — Carbon — Sulphur — Phosphorous — Potassium — Sodium — Fluorine ^ 
 Magnesium— Iron — Chlorine — Aluminium — Silicon — Borax. The Atmosphere. — Nitrogen- 
 Oxygen — Argon — Carbon Dioxide — Ammonia — Nitric Acid— Ozone — Solid Matter. The Soil. 
 —Classification of Rocks— Quartz— Felspar— Mica— Clay— Sandstones— Shales— Limestones 
 —Calcareous Rocks— Transported Soils. Formation of Soils.— By Water, Air, Earth 
 Worms, Vegetation and Bacteria — Sand — Clay — Limestone — Humus — Classification of Soils. 
 Reactions in Soils. — Diffusion — Gravitation— Nitrification — Soil Gases — Water of the Soil — 
 Biology of the Soil — Electrolytic Dissociation Theory — Mass Action. Analysis of Soils.— 
 Sampling— Mechanical »nd Chemical Analyses — Determination of Silica, Alumina, Ferric 
 Oxide, Total Potash and Phosphoric Acid, Lime, Magnesia, Calcium Carbonate, Sulphuric 
 Acid, Nitrates and Nitrites. Natural Manures. — Improvement of Soils— Farmyard Manure 
 — Composition of Animal Excreta— Use of Litter, Straw, Peat, Bracken, Leaves, Sawdust, 
 Tanners' Refuse — Fermentation and Preservation of Farmyard Manure. Other Organic 
 Manures. — Guano — Poultry and Fish Manures — Seaweed — Dried Blood— Bones — Meat 
 Guano— Hair— Soot— Oil-cakes. Nitrogenous Manures.— Sodium Nitrate— Ammonium 
 Sulphate— Phosphatic Manures— Tricalcum Phosphate— Coprolites— Phosphorites— Mineral 
 Superphosphates— Basic Slag — Potash Manures— Composition of Principal Potash Salts- 
 Various Manures — Common Salt — Gypsum — Limestone — Ferrous Sulphate — Gas Lime — 
 Copper Sulphate. Analysis of Manures.— Constituents— Determination of Nitrogen- 
 Phosphoric Acid— Potassium— Valuation ot Manures from Analysis. Constituents of 
 Plants. — Carbohydrates— Sugars— Starch — Dextrin— Glycogen— Inulin— Gums— Cellulose — 
 Glucose— Fructose— Cane Sugar— Meletrose—Arabinose— Xylose— Lignose—Pectose— Gly- 
 cerol— Waxes —Organic Acids and their Salts. Essential Oils and Resins.— Terpenes— 
 Oxygenated Essential Oils— Essential Oils containing Sulphur— Resins. Nitrogenous Sub- 
 stances.— Albuminoids— Amides— Alkaloids— Chlorophyll. The Plant. — Germination — 
 Roots — Osmotic Pressure — Leaves — Assimilation — Flowers. Crops. — Cereals — Root Crops 
 — Fodder Crops — Hay — Ventilating Stacks — Silage — Composition of Crops. The Animal. — 
 Blood— Bones-Fatty Tissue— Muscle— Digestion— Bile— Urine. Foods and Feeding.— 
 Composition of Oil-cake- Bye-Products as Foods— Digestibility of Foods— Calorific Value of 
 Foods— Feeding Standards— Manurial Value of Foods. Milk and Milk Products.— Fat— 
 Albuminoids— Milk Sugar— Chemical Composition of Cow's Milk— Influence of Food, Season 
 and Milking Time— Milk Products— Cream— Skimmed Milk— Butter— Butter-milk— Cheese- 
 Condensed Milk— Koumiss- -Milk Preservation. Analysis of Milk and Milk Products.— 
 
11 
 
 ^ a'^^u °f Ff t-Determination of Total Solids, Specific Gravity, Proteids, Milk Sugar 
 
 -Adulteration of M,l_k-DetectJon of Preservatives-Butter-Butter Colouring-Cheesl- 
 Milk Standards. Various Products used in Agriculture.-Arsenious Oxide-Bleaching 
 Powder-Copper Salts-Disintectants-Fungicides-Iron Sulphate-Mercuric Chloride- 
 «irur-^°'^°"T Appendix. -Atomic Weights-Hydrometer Scales-Metric System- 
 holubilities. Tropical Agriculture, etc. -Composition of Rain Water-Irrigation Water- 
 Earth Worms-Mot,"n ot VVater m Soil-Analysis of Soils-Green Manuring-Kraal Manure 
 -Bats Guano-Artihcial Manures-The Plant-Rice-Maize -Millet-Cotton-Flax-Castor 
 beeds-Sunflower-Composit.on of Various South African Grown Crops-Ash Constituents of 
 Foods— Variations in the Compositio n of Milk-Butter- Fat-Bordeaux Mixture-Insecticides. 
 
 THE UTILISATION OFWASTE PRODUCTS. A Treatise 
 on the Rational Utilisation, Recovery and Treatment of Waste Pro- 
 ducts of all kinds. By Dr. Theodor Roller. Translated from the 
 Second Revised German Edition. Twenty-two Illustrations. Demy 
 8yo. 280 pp. Price 7s. 6d. net. (Post free, 7s. lOd. home ; 8s. 3d. 
 abroad.) 
 
 Writing Inks and Sealing Waxes. 
 
 INK MANUFACTURE : Including Writing, Copying, Litho- 
 graphic, Marking, Stamping, and Laundry Inks. Bv Sigmund Lehner. 
 Three Illustrations. Crown 8vo. 162 pp. Translated from the German 
 of the Fifth Edition. Price 5s. net. (Post free, 5s. 3d. home- 5s 6d 
 abroad.) 
 
 Contents. 
 
 » ^y^'-'eties of Ink-Writing Inks-Raw Materials of Tannin InUs-The Chemical Constitution 
 ?!l 1^^^^'"''^^ I"'<s-Logwood Tannin Inks-Ferric Inks-Alizarine 
 
 T^t I 'J r''. '""^s-Copying Inks-Hektographs-Hektograph Inks-Safety 
 
 "^xA"^ ,^ f"'* Powders-Preserving Inks-Changes in Ink and the Restoration of 
 fnkl M^Il >^rt?°'T H^'* Inks-Blue Inks-Violet Inks- Yellow Inks-Green 
 
 Inks-Metallic Inks-Indian Ink-Lithographrc Inks and Pencils-Ink Pencils-Marking Inks 
 —Ink Specialities- Sympathetic Inks-Stamping Inks— Laundry or Washing Blue— Index. 
 
 SEALING-WAXES, WAFERS AND OTHER ADHES- 
 IVES FOR THE HOUSEHOLD, OFFICE, WORK- 
 SHOP AND FACTORY. By H. C. Standage. Crown 
 8vo. 96 pp. Price 5s. net. (Post free, 5s. 3d. home; 5s. 4d. abroad.) 
 Contents. 
 
 Materials Used for Making: Sealing-.Waxes-The Manufacture of Sealing- Waxes- 
 f^r nsri^°.hf H ""^ Natureof the Materials Used in Making Adhesive Compounds-Cements 
 F°rctory and' W^rht uTe^'^'^' "^^'''^ Adhesive Compounds for 
 
 Lead Ores and Compounds. 
 
 LEAD AND ITS COMPOUNDS. By Thos. Lambhrt, 
 Technical and Consulting Chemist. Demy Svo. 226 pp. Forty Illus- 
 trations. Price 7s. 6d. net. (Post free, 7s. lOd. home; 8s. 3d. abroad.) 
 Contents. 
 
 History— Ores of Lead— Geographical Distribution of the Lead Industry- Chemical and 
 Physical Properties of Lead-Alloys of Lead-Compounds of Lead-Dressing of I'ad Ores 
 Sh^Tf ^I." Rlf . if 0'-^«-S™^lt,ng in the Scotch or American Ore-hearth-Smelting in the 
 ; c i H Furnace-Condensation of Lead Fume-Desilverisation, or the Separation 
 iLfl % /--gf "t'fe-ous Lead-Cupellation-The Manufacture of Lead Pipes and 
 Sheets-Protoxide of Lead-Litharge and Massicot-Red Lead or Minium-Lead Poisoning 
 nfl^'.^f S"bstitutes--Zinc and its Compounds-Pumice Stone-Drying Oils and Siccatives 
 Products-S's-Index ~ " ^ Pigments-Analysis of Raw and Finished 
 
 NOTES ON LEAD ORES : Their Distribution and Properties 
 By Jas. Fairie, F.G.S. Crown Svo. 64 pages. Price Is net 
 (Post free, Is. 3d. home ; Is. 4d. abroad.) 
 
 (White Lead and Zinc White Paints, see p. 4.) 
 
12 
 
 Industrial Hygiene. 
 
 THE RISKS AND DANGERS TO HEALTH OF VARI- 
 OUS OCCUPATIONS AND THEIR PREVENTION. 
 
 By Leonard A. Parry, M.D., B.Sc. (Lond.). 196 pp. Demy 8vo. 
 Price 7s. 6d. net. (Post free, 7s. lOd. home ; 8s. abroad.) 
 
 Contents. , i 
 
 Occupations which are Accompanied by the Generation and Scattering of Abnormal 
 Quantities of Dust-Trades in which there is Danger of Metallic Poisoning-Certain Chemi- 
 ^1 Trades— Some Miscellaneous Occupations— Trades in which Various Poisonous Vapours 
 are Inhaled— General Hygienic Considerations— Index. 
 
 Industrial Uses of Air, Steam and 
 
 Water. 
 
 DRYING BY MEANS OF AIR AND STEAM. Explana- 
 tions FormuljE, and Tables for Use in Practice. Translated from the 
 German of E. Hausbrand. Two folding Diagrams and Thn-teen Tables. 
 Crown Svo. 72 pp. Price 5s. net. (Post free, 5s. 3d. home; 5s. bd. 
 abroad.) Contents. 
 
 British and Metric Systems Compared-Centigrade and Fahr. Thermometers-Estimation 
 of the Maximum Weight of Saturated Aqueous Vapour which can be contained in 1 kilo, 
 of Air at Different Pressure and Temperatures-Calculation of the Necessary Weight and 
 Volume of Air, and of the Least Expenditure of Heat, per Drying Apparatus with Heated 
 Air, at the Atmospheric Pressure: ^, With the Assumption that the Air is Complete y Satur- 
 ated with Vapour both before Entry and after Exit from the .Apparatus-iy, When the 
 Atmospheric Air is Completely Saturated before entry, but at its extt is onh' |, J or J Saturated 
 _ " When the Atmospheric Air is not Saturated with Moisture before Entering the Drying 
 Apparatus-Drying Apparatus, in which, in the Drying Chamber a Pressure is^ Artificially 
 Created, Higher or Lower than that of the Atmosphere-Drying by Means of Superheated 
 Steam without Air-Heating Surface, Velocity of the Air Current, Dimensions of the Drymg 
 Room,' Surface of the Drying Material, Losses of Heat— Index. ^ 
 
 {See also " Evaporating, Condensing and Cooling Apparatus, p. 20.) 
 
 PUKE AIR, OZONE AND WATER. A Practical Treatise 
 of their Utilisation and Value in Oil, Grease, Soap, Paint, Glue and 
 other Industries. By W. B. Cowell. Twelve Illustrations. Crown 
 Svo 85 pp. Price 5s. net. (Post free, 5s. 3d. home ; 5s. 6d. abroad.) 
 
 Contents. ^, 
 
 Atmospheric Air; Lifting of Liquids ; Suction Process; Preparing Blown Oils: Preparing 
 SiccaUve Drying Oils-Compressed Air; Whitewash-Liquid Air; Retrocession-Purification 
 of Water- Watir Hardness-Fleshings and Bones-Ozonised Air in the Bleaching and De- 
 odoris ng of Fats, Glues, etc.; Bleaching Textile Fibres-Appendix : Air and Gases ; Pressure 
 of Air at Various Temperatures; Fuel; Table of Combustibles; Saving of .^Y Hea 'ng 
 Feed Water - Table of Solubilities of Scale Making Minerals; British Thermal Units Tables , 
 Volume of the Flow of Steam into the Atmosphere; Temperature of Steam-Index. 
 
 THE INDUSTRIAL USES OF WATER. COMPOSI- 
 TION — EFFECTS— TROUBLES — REMEDIES— RE- 
 SIDUARY WATERS— PURIFICATION— ANALYSIS. 
 
 By H. DE LA Coux. Royal 8vo. Translated from the French and 
 Revised by Arthur Morris. 364 pp. 135 Illustrations. Price 10s. 6d. 
 net. (Post free, lis. home; lis. 6d. abroad.) 
 
 Contents. , 
 
 Chemical Action of Water in Nature and in Industrial Use-Composition of Waters- 
 Solubility of Certain Salts in Water Considered from the Industna^ Pomt of View-Effects on 
 the Boiling of Water-Effects of Water in the Industries-Difhculties ^'^h Water Feed 
 Water for Boilers-Water in DyeworUs, Print Works, and Bleach Works— Water in the 
 Textile Industries and in Conditloning-Water in Soap Works-Water in Laundnes and 
 Washhouses— Water in Tanning— Water in Preparing Tannin and Dyewood Extracts— Water 
 Ui Papermakin7-^^^^^^^^ Photography- Water in Sugar Refining-Water ,n Making Ices 
 and Beverages- Water in Cider Making- Water in Brewing-Water in D.stillmg-Preliminary 
 Treatment tnd Apparatus-Substances Used for Preliminary Chemical Purification-Com- 
 mercial Specialities and their Employment-Precipitation of Matters in Suspension in Water 
 -Apparat'^s for the Preliminary Chemical Purification of Water-Industnal F-lters-'nd^s- 
 trial Sterilisation of Water-Residuary Waters and their Purification-Soil Filtration- 
 Purification by Chemical Processes— Analyses— Index. , ^ „ , c . \ 
 {See Books on Smoke Prevention, Engineering and Metallurgy , p. 2b, etc.) 
 
13 
 
 X Rays. 
 
 PRACTICAL X RAY WORK. By Frank T. Addyman, 
 B.Sc. (Lond.), F.I.C., Member of the Roentgen Society of London; 
 Radiographer to St. George's Hospital ; Demonstrator of Physics and 
 Chemistry, and Teacher of Radiography in St. George's Hospital 
 Medical School. Demy 8vo. Twelve Plates from Photographs of X Ray 
 Work. Fifty-two Illustrations. 200 pp. Price 10s. 6d. net. (Post free, 
 10s. lOd. home; lis. 3d. abroad.) 
 
 Contents. 
 
 Historical — Work leading up to the Discovery of the X Rays — The Discovery — Appara^ 
 tus and its Management— Electrical Terms — Sources of Electricity — Induction Coils — 
 Electrostatic Machines — Tubes — Air Pumps — Tube Holders and Stereoscopic Apparatus — 
 Fluorescent Screens — Practical X Ray Work — Installations — Radioscopy — Radiography — 
 X Rays in Dentistry — X Rays in Chemistry — X Rays in War — Index. 
 
 List of Plates. 
 
 Frontispiece — Congenital Dislocation of Hip-Joint. — I., Needle in Finger. — II., Needle in 
 Foot. — III., Revolver Bullet in Calf and Leg. — IV., A Method of Localisation. — V, Stellate 
 Fracture of Patella showing shadow of "Strapping". — VI., Sarcoma. — VII., Six-weeks-old 
 Injury to Elbow showing new Growth of Bone. — VIII., Old Fracture of Tibia and Fibula 
 badly set. — IX., Heart Shadow. — X., Fractured Femur showing Grain of Splint. — XL. Bar- 
 ren's Method of Localisation. 
 
 India-Rubber and Gutta Percha. 
 
 INDIA-RUBBER AND GUTTA PERCHA. Second 
 Edition, Revised and Enlarged. Based on the French work of 
 T. Seeligmann, G. Lamy Torvilhon and H. Falconnet by John 
 Gedd ES McIntosh. Royal 8vo. [//; tlie press. 
 
 Contents. 
 
 India- Rubber — Botanical Origin — Climatology — Soil — Rational Culture and Acclimation 
 of the Different Spe:ies of India-Rubber Plants — Methods of Obtaining the Latex — Methods 
 of Preparing Raw or Crude India-Rubber — Classification of the Commercial Species of 
 Raw Rubber — Physical and Chemical Properties of the Latex and of India-Rubber — 
 Mechanical Transformation of Natural Caoutchouc into Washed or Normal Caoutchouc 
 (Purification) and Normal Rubber into Masticated Rubber — Softening, Cutting, Washing, 
 Drying — Preliminary Observations — Vulcanisation of Normal Rubber — Chemical and Physical 
 Properties of Vulcanised Rubber — General Considerations — Hardened Rubber or Ebonite — 
 Considerations on Mineralisation and other Mixtures — Coloration and Dyeing — Analysis 
 of Natural or Normal Rubber and Vulcanised Rubber — Rubber Substitutes — Imitation Rubber. 
 
 Gutta Percha — Botanical Origin — Climatology — Soil— Rational Culture — Methods of 
 Collection — Classification of the Different Species of Commercial Gutta Percha — Physical 
 and Chemical Properties — -Mechanical Transformation — Methods of Analysing — Gutta Percha 
 Substitutes — Index. 
 
 Leather Trades. 
 
 PRACTICAL TREATISE ON THE LEATHER IN- 
 DUSTRY. By A. M. Villon. Translated by Frank T. 
 Addyman, B.Sc. (Lond.), F.I.C., F.C.S. ; and Corrected by an Emi- 
 nent Member of the Trade. 500 pp., royal 8vo. 123 Illustrations. 
 Price 21s. net. (Post free, 21s. 6d. home ; 22s. 6d. abroad.) 
 Contents. 
 
 Preface — Translator's Preface — List of Illustrations. 
 
 Part I., Materials used in Tanning— Skins: Skin and its Structure; Skins used in 
 Tanning; Various Skins and their Uses — Tannin and Tanning Substances: Tannin; Barks 
 (Oak); Barks other than Oak; Tanning Woods; Tannin-bearing Leaves; Excrescences; 
 Tan-bearing Fruits; Tan-bearing Roots and Bulbs; Tanning Juices; Tanning Substances 
 used in Various Countries; Tarftiin Extracts; Estimation of Tannin and Tannin Principles. 
 
 Part II., Tanning — The Installation of a Tannery: Tan Furnaces; Chimneys, Boilers, 
 etc.; Steam Engines — Grinding and Trituration of Tanning Substances: Cutting up Bark; 
 Grinding Bark; The Grinding of Tan Woods; Powdering Fruit, Galls and Grains; Notes on 
 the Grinding of Bark — Manufacture of Sole Leather: Soaking; Sweating and Unhairing; 
 Plumping and Colouring; Handling; Tanning; Tanning Elephants' Hides; Drying; 
 Striking or Pinning — Manufacture of Dressing Leather: Soaking; Depilation; New Pro- 
 cesses for the Depilation of Skins; Tanning; Cow Hides; Horse Hides; Goat Skins ; Manu- 
 facture of Split Hides — On Various Methods of Tanning : Mechanical Methods; Physical 
 Methods; Chemical Methods; Tanning with Extracts — Quantity and Quality; Quantity 
 Net Cost; Quality of Leather — Various Manipulations of Tanned Leather : Second Tanning; 
 Grease Stains ; Bleaching Leather; Waterproofing Leather; Weighting Tamed Lfatle 
 Preservation of Leather — Tanning Various Skins. 
 
14 
 
 Part III., Currying — Waxed Calf: Preparation; Shaving; Stretching or Slicking ;; 
 Oiling the Grain ; Oiling the Flesh Side; Whitening and Graining; Waxing; Finishing; Drjy 
 Finishing; Finishing in Colour; Cost — White Calf: Finishing in White — Cow Hide foir 
 Upper Leathers: Black Cow Hide; White Cow Hide; Coloured Cow Hide — Smooth Covw 
 Hide — Black Leather — Miscellaneous Hides: Horse; Goat; Waxed Goat Skin; Matt Goait 
 Skin — Russia Leather: Russia Leather; Artificial Russia Leather. 
 
 Part IV., Enamelled, Hungary and Chamoy Leather, Morocco, Parchment, Furs 
 and Artificial Leather — Enamelled Leather : Varnish Manufacture ; Application of thte 
 Enamel; Enamelling in Colour — Hungary Leather: Preliminary; Wet Work or Prepara^- 
 tion; Aluming; Dressing or Loft Work ; Tallowing; Hungary Leather from Various Hides 
 — Tawing: Preparatory Operations; Dressing; Dyeing Tawed Skins; Rugs — Chamoy Leatheir 
 — Morocco : Preliminary Operations , Morocco Tanning ; Mordants used in Morocco Manu- 
 facture; Natural Colours used in Morocco Dyeing; Artificial Colours; Different Methods- 
 of Dyeing; Dyeing with Natural Colours; Dyeing with Aniline Colours; Dyeing with 
 Metallic Salts; Leather Printing ; Finishing Morocco ; Shagreen ; Bronzed Leather — Gilding 
 and Silvering; Gilding; Silvering; Nickel and Cobalt — Parchment — Furs and Furriery:: 
 Preliminary Remarks; indigenous Furs; Foreign Furs from Hot Countries; Foreign FursB 
 from Cold Countries ; Furs from Birds' Skins; Preparation of Furs; Dressing; Colouring ; 
 Preparation of Birds' Skins; Preservation of Furs — Artificial Leather: Leather made fromi 
 Scraps; Compressed Leather; American Cloth; Papier M^che ; Linoleum; Artificial Leather.. 
 
 Part v., Leather Testing and the Theory of Tanning— Testing and Analysis of Leather 
 Physical Testing of Tanned Leather; Chemical Analysis — The Theory of Tanning and the 
 other Operations of the Leather and Skin Industry: Theory of Soaking; Theory of Un- 
 hairing; Theory of Swelling; Theory of Handling; Theory of Tanning; Theory of the 
 Action of Tannin on the Skin; Theory of Hungary Leather Making; Theory of Tawing;; 
 Theory of Chamoy Leather Making ; Theory of Mineral Tanning. 
 
 Part VI., Uses of Leather — Machine Belts: Manufacture of Belting; Leather Chaim 
 Belts ; Various Belts ; Use of Belts — Boot and Shoe-making : Boots and Shoes ; Laces — 
 Saddlery: Composition of a Saddle; Construction of a Saddle — Harness: The Pack Saddle;; 
 Harness — Military Equipment — Glove Making — Carriage Building — Mechanical Uses. 
 
 Appendix, The World's Commerce in Leather— Europe ; America; Asia; Africa :i 
 Australasia — Index. 
 
 THE LEATHER WORKER'S MANUAL. Being a Com- 
 pendium of Practical Recipes and Working Formulae for Curriers,, 
 Bootmakers, Leather Dressers, Blacking Manufacturers, Saddlers,, 
 Fancy Leather Workers. By H. C. Standaoe. Demy 8vo. 165 pp„ 
 Price 7s. 6d. net. (Post free, 7s. lOd. home ; 8s. abroad.) 
 Contents. 
 
 Blackings, Polishes, Glosses, Dressings, Renovators, etc., for Boot and Shoe Leather — 
 Harness Blackings, Dressings, Greases, Compositions, Soaps, and Boot-top Powders andi. 
 Liquids, etc., etc. — Leather Grinders' Sundries — ^Currier's Seasonings, Blacking Compounds,^ 
 Dressings, Finishes, Glosses, etc. — Dyes and Stains for Leather — Miscellaneous Information' 
 — Chrome Tannage — Index. 
 
 {See " Wood Products, Distillates and Extracts,'" p. 29). 
 
 Books on Pottery, Bricks, 
 Tiles, Glass, etc. 
 
 THE MANUAL OP PRACTICAL POTTING. Compiled 
 by Experts, and Edited by Chas. F. Binns. Third Edition, Revised' 
 and Enlarged. 200 pp. Demy 8vo. Price 17s. 6d. net. (Post free, 
 17s. lOd. home; 18s. 3d. abroad.) 
 
 Contents. 
 
 Introduction. The Rise and Progress of the Potter's Art— Bodies. China and Porcelain 
 Bodies, Parian Bodies, Semi-porcelain and Vitreous Bodies, Mortar Bodies, Earthenwares. 
 Granite and C.C. Bodies, Miscellaneous Bodies, Sagger and Crucible Clays, Coloured 
 Bodies, Jasper Bodies, Coloured Bodies for Mosaic Painting, Encaustic Tile Bodies, Body 
 Stains, Coloured Dips — QIazes. China Glazes, Ironstone Glazes, Earthenware Glazes, 
 Glazes without Lead, Miscellaneous Glazes, Coloured Glazes, Majolica Colours — Gold and 
 Gold Colours. Gold, Purple of Cassius, Marone and Ruby, Enamel Coloured Bases, 
 Enamel Colour Fluxes, Enamel Colours, Mixed Enamel Colours, Antique and Vellum 
 Enamel Colours, Underglaze Colours, Underglaze Colour Fluxes, Mixed Underglaze Colours, 
 Flow Powders, Oils and Varnishes— Mean* and Methods. Reclamation of Waste Gold,. 
 The Use of Cobalt, Notes on Enamel Colours, Liquid or Bright Gold — Classification and' 
 Analysis. Classification of Clay Ware, Lord Playfair's Analysis of Clays, The Markets of 
 the World, Time and Scale ot Firing, Weights of Potter's Material, Decorated Goods 
 Count — Comparative Loss of Weight of Clays — Ground Felspar Calculations — The Conver- 
 sion of Slop Body Recipes into Dry Weight — The Cost of Prepared Earthenware Clay — 
 Forms and Tables. Articles of Apprenticeship, Manufacturer's Guide to Stocktaking, 
 Table of Relative Values of Potter's Materials, Hourly Wages Table, Workman's Settling 
 Table, Comparative Guide for Earthenware and China Manufacturers in the use of Slop Flint 
 and Slop Stone, Foreign Terms applied to Earthenware and China Goods, Table for the 
 Conversion of Metrical Weights and Measures on the Continent and South America — Index. 
 
15 
 
 CERAMIC TECHNOLOGY : Being some Aspects of Tech- 
 nical Science as Applied to Pottery Manufacture. Edited by Charles 
 F. BiNNS. 100 pp. Demy 8vo. Price 12s. 6d. net. (Post free, 
 12s. lOd. home; 13s. abroad.) 
 
 Contents. 
 
 Preface— The Chemistry of Pottery — Analysis and Synthesis — Clays and their Com- 
 ponents—The Biscuit Oven — Pyrometry — Glazes and their Composition — Colours «nd 
 Colour-making — Index. 
 
 A TREATISE ON THE CERAMIC INDUSTRIES. A 
 
 Complete Manual for Pottery, Tile and Brick Works. By Emile 
 BouRRY. Translated from the French by Wilton P. Rix, Examiner 
 in Pottery and Porcelain to the City and Guilds of London Technical 
 Institute, Pottery Instructor to the Hanley School Board. Royal 
 8vo. 760 pp. 323 Illustration*. Price 21s. net. (Post free, 22s. home ; 
 24s. abroad.) 
 
 Contents. 
 
 Part I., General Pottery Methods. Definition and History. Definitions and Classifi- 
 cation of Ceramic Products — Historic Summary of the Ceramic Art — Raw IVIaterials of 
 Bodies. Clays: Pure Clay and Natural Clays— Various Raw Materials : Analogous to Clay— 
 Agglomerative and Agglutinative— Opening— Fusible— Refractory— Trials of Raw Materials 
 — Plastic Bodies. Properties and Composition— Preparation of Raw Materials: Disaggrega- 
 tion — Purification— Preparation of Bodies : By Plastic Method — By Dry Method— By Liquid 
 Method — Formation. Processes of Formation : Throwing — Expression — Moulding by Hand- 
 on the Jolley, by Compression, by Slip Casting— Slapprng— Slipping— Drymg. Drying of 
 Bodies— Processes of Drying: By Evaporation— By Aeration— By Heating— By Ventilation 
 — By Absorption — Glazes. Composition and Propertied — Raw Materials — Manufacture 
 and Application— Firing. Properties of the Bodies and Glazes during Firing— Description 
 of the Kilns— Working of the Kilns — Decoration. Colouring Materials — Processes of 
 Decoration. 
 
 Part IL, Special Pottery Method*. Terra Cottas. Classification: Plain Ordinary, 
 Hollow, Ornamental, Vitrified, and Light Bricks— Ordinary and Black Tiles— Paving Tiles— 
 Pipes— Architectural Terra Cottas— Vases, Statues and Decorative Objects— Common Pottery 
 —Pottery for Water and Filters— Tobacco Pipes — Lustre Ware — Properties and Tests for 
 Terra Cottas — Fireclay Goods. Classification : Argillaceous, Aluminous, Carboniferous, 
 Silicious and Basic Fireclay Goods— Fireclay Mortar (Pug) — Tests for Fireclay Goods — 
 Faiences. Varnished Faiences — Enamelled Faiences— Silicious Faiences — Pipeclay Faiences 
 — Pebble Work — Feldspathic Faiences— Composition, Processes of Manufacture and General 
 Arrangements of Faienc« Potteries — Stoneware. Stoneware Properly So-called : Paving 
 Tiles— Pipes— Sanitary Ware— Stoneware for Food Purposes and Chemical Productions — 
 Architectural Stoneware— Vases, Statues and other Decorative Objects — Fine Stoneware 
 — Porcelain. Hard Porcelain for Table Ware and Decoration, for the Fire, for Electrical 
 Conduits, for Mechanical Purposes; Architectural Porcelain, and Dull or Biscuit Porcelain — 
 Soft Phosphated or English Porcelain — Soft Vitreous Porcelain, French and New Sevres — 
 Argillaceous Soft or Seger's Porcelain— Dull Soft or Parian Porcelain — Dull Feldspathic 
 Soft Porcelain — Index. 
 
 POTTERY DECORATING. A Description of all the Pro- 
 cesses for Decorating Pottery and Porcelain. By R. Hainbach. 
 Translated from the German. Crown 8vo. 250 pp. Twenty-two 
 Illustrations. Price7s.6d.net. (Post free, 7s. lOd. home ; 8s. abroad.) 
 Contents. 
 
 •Qlazes and Rn8:ob«S.— Glazes and Their Composition— Glaze Materials— The Prepara- 
 tion of Glazts— Coloured Glazes— Engobes and Glazes for same— Porcelain Glazes. Ceramic 
 Colours.— Preparation of Pure Colours— Underglaze Colours— Appl>ing the Colours on 
 Earthenware— Glost Fire Colours — Muffle Colours — Decorating Porcelain with Metals — 
 Decorating Porcelain by Electroplating— Lustre Decorating on Porcelain— Firing Muffle 
 Colours — Imitation of Paintings on Porcelain— Index. 
 
 ARCHITECTURAL POTTERY. Bricks, Tiles, Pipes, Ena- 
 melled Terra-cottas, Ordinary and Incrusted Quarries, Stoneware 
 Mosaics, Faiences and Architectural Stoneware. By Leon Lefbvre. 
 Translated from the French by K. H. Bird, M.A., and W. Moore 
 BiNNS. With Five Plates. 950 Illustrations in the Text, and numerous 
 estimates. 500 pp., royal 8vo. Price 15s. net. (Post free, 15s. 6d. 
 home ; 16s. 6d. aioroad.) 
 
 Contents. 
 
 Part I. Plain Undecorated Pottery.— Clays, Bricks, Tiles, Pipes, Chimney Flues, 
 Terra=cotta. 
 
 Part H. Made-up or Decorated Pottery. 
 
16 
 
 THE ART OF RIVETING GLASS, CHINA AND 
 EARTHENWARE. By J. Howarth. Second Edition. 
 Paper Cover. Price Is. net. (By post, home or abroad, Is. Id.) 
 
 NOTES ON POTTERY CLAYS. The Distribution, Pro- 
 perties, Uses and Analyses of Ball Clays, China Clays and China 
 Stone. By Jas. Fairie, F.G.S. 132 pp. Crown 8vo. Price 3s. 6d. 
 net. (Post free, 3s. 9d. home ; 3s. lOd. abroad.) 
 
 A Reissue of 
 
 THE HISTORY OF THE STAFFORDSHIRE POTTER- 
 IES ; AND THE RISE AND PROGRESS OF THE 
 MANUFACTURE OF POTTERY AND PORCELAIN. 
 
 With References to Genuine Specimens, and Notices of Eminent Pot- 
 ters. By Simeon Shaw. (Originally Published in 1829.) 265 pp. 
 Demy Bvo. Price 5s. net. (Post free, 5s. 4d. home ; 5s. 9d. abroad.) 
 Contents. 
 
 Introductory Chapter showing the position of the Pottery Trade at the present time 
 (1899) — Preliminary l<emarks — The Potteries, comprising Tunstall, Brownhills, Green- 
 field and New Field, Golden Hill, Latebrook, Green Lane, Burslem, Longport and Dale Hall, 
 Hot Lane and Cobridge, Hanley and Shelton, Etruria, Stoke, Penkhull, Fenton, Lane Delph, 
 Foley, Lane End — On the Orig:in of the Art, and its Practice among the early Nations — 
 Manufacture of Pottery, prior to 1700— The Introduction of Red Porcelain by Messrs. 
 Elers, of Bradwell, 1690— Progress of the Manufacture from 1700 to Mr. Wedgwood's 
 commencement in 1760 — Introduction of Fluid Glaze — Extension of the Manufacture of 
 Cream Colour — Mr. Wedgwood's Queen's Ware — Jasper, and Appointment of Potter to Her 
 Majesty— Black Printing — Introduction of Porcelain. Mr. W. Littler's Porcelain— Mr. 
 Cookworthy's Discovery of Kaohn and Petuntse, and Patent — Sold to Mr. Champion — re- 
 sold to the New Hall Com. — Extension of Term — Blue Printed Pottery. Mr. Turner, Mr. 
 Spode (1), Mr. Baddeley, Mr. Spode (2), Messrs. Turner, Mr. Wood, Mr. Wilson, Mr. Minton — 
 Great Change in Patterns of Blue Printed — Introduction of Lustre Pottery. Improve- 
 ments in Pottery and Porcelain subsequent to 1800. 
 
 A Reissue of 
 
 THE CHEMISTRY OF THE SEVERAL NATURAL 
 AND ARTIFICIAL HETEROGENEOUS COM- 
 POUNDS USED IN MANUFACTURING POR- 
 CELAIN, GLASS AND POTTERY. By Simeon Shaw. 
 (Originally published in 1837.) 750 pp. Royal 8vo. PricelOs.net. (Post 
 free, 10s. 6d. home; 12s. abroad.) 
 
 Glassware, Glass Staining and 
 Painting. 
 
 RECIPES FOR FLINT GLASS MAKING. By a British 
 Glass Master and Mixer. Sixty Recipes. Being Leaves from the 
 Mixing Book of several experts in the Flint Glass Trade, containing 
 up-to-date recipes and valuable information as to Crystal, Demi-crystal 
 and Coloured Glass in its many varieties. It contains the recipes for 
 cheap metal suited to pressing, blowing, etc., as well as the most costly 
 crystal and ruby. Second Edition. Crown 8vo. Price 10s. 6d. net. 
 (Post free, 10s. 9d. home ; 10s. lOd. abroad.) 
 
 Contents. 
 
 Ruby — Ruby from Copper — Flint for using with the Ruby for Coating — A German Metal — 
 Cornelian, or Alabaster — Sapphire Blue— Crysophis — Opal — Turquoise Blue— Gold Colour — 
 Dark Green — Green (common) — Green for Malachite — Blue for Malachite — Black for Mela- 
 chite — Black — Common Canary Batch — Canary — White Opaque Glass — Sealing-wax Red- 
 Flint — Flint Glass (Crystal and Demi) — Achromatic Glass — Paste Glass — White Enamel — 
 Firestone— Dead White (for moons) — White Agate — Canary — Canary Enamel— Index. 
 
17 
 
 A TREATISE ON THE ART OF GLASS PAINTING. 
 
 Prefaced with a Review of Ancient Glass. By Ernest R. Suffling. 
 With One Coloured Plate and Thirty-seven Illustrations. Demy 8vo. 
 140 pp. Price 7s. 6d. net. (Post free, 7s. lOd. home ; 8s. abroad.) 
 Contents. 
 
 A Short History of Stained Glass — Designing Scale Drawings — Cartoons and the Cut Line 
 — Various Kinds of Glass Cutting for Windows — The Colours and Brushes used in Glass 
 Painting — Painting on Glass, Dispersed Patterns — Diapered Patterns — Aciding — Firing — 
 Fret Lead Glazing — Index. 
 
 PAINTING ON GLASS AND PORCELAIN AND 
 ENAMEL PAINTING. A Complete Introduction to the 
 Preparation of all the Colours and Fluxes used for Painting on Porce- 
 lain, Enamel, Faience and Stoneware, the Coloured Pastes and Col- 
 oured Glasses, together with a Minute Description of the Firing of 
 Colours and Enamels. By Felix Hermann, Technical Chemist. With 
 Eighteen Illustrations. 300 pp. Translated from the Get-man second 
 and enlarged Edition. Price 10s. 6d. net. (Post free, 10s. lOd. home ,■: 
 lis. abroad.) 
 
 Paper Making, Paper Dyeing, 
 and Testing. 
 
 THE DYEING OF PAPER PULP. A Practical Treatise for 
 the use of Papermakers, Paperstainers, Students and others. By 
 Julius Erfurt, Manager of a Paper Mill. Translated into English 
 and Edited with Additions by Julius Hubner, F.C.S., Lecturer on 
 Papermaking at the Manchester Municipal Technical School. With 
 Illustrations and 157 patterns Of paper dyed in the pulp. Royal 
 Svo, 180 pp. Price 15s. net. (Post free, 15s. 6d. home ; 16s. 6d. abroad.), 
 Contents. 
 
 Behaviour of the Paper Fibres during the Process of Dyeing:, Theory of the 
 Mordant— Colour Fixing Mediums (Mordants)— Influence of the Quality of the Water 
 Used— Inorganic Colours— Organic Colours— Practical Application of the Coal Tar 
 Colours according to their Properties and their Behaviour towards the Different 
 Paper Fibres— Dyed Patterns on Various Pulp Mixtures — Dyeing to Shade— Index. 
 
 THE PAPER MILL CHEMIST. By Henry P. Stevens, 
 M.A., Ph.D., F.I.C. Royal 12mo. 60 Illustrations. 300 pp. Price 
 7s. 6d. net. (Post free, 7s. 9d. home ; 7s. lOd. abroad.) 
 
 Contents. 
 
 Introduction. — Dealing with the Apparatus required in Chemical Work and General- 
 Chemical Manipulation, introducing the subject of Qualitative and Quantitative Analysis. 
 Fuels. ^ — Analysis of Coal, Coke and other Fuels — Sampling and Testing for Moisture, Ash, 
 Calorific Value, etc. — Comparative Heating Value of different Fuels and Relative Efficiency. 
 Water. — Analysis for Steam Raising and for Paper Making Purposes generally — Water 
 Softening and Purification — A List of the more important Water Softening Plant, giving 
 Power required, Weight, Space Occupied, Out-put and Approximate Cost. Raw Materials 
 and Detection of Adulterants. — Analysis and Valuation of the more important Chemicals 
 used in Paper Making, including Lime, Caustic Soda, Sodium Carbonate, Mineral Acids, 
 Bleach Antichlor, Alum, Rosin and Rosin Size, Glue Gelatin and Casein, Starch, China Clay,. 
 Blanc Fixe, Satin White and other Loading Materials, Mineral Colours and Aniline Dyes. 
 Manufacturing Operations. — Rags and the Chemical Control of Rag Boiling — Esparto 
 Boiling — Wood Boiling — Testing Spent Liquors and Recovered Ash — Experimental Tests 
 with Raw Fibrous Materials — Boiling in Autoclaves — Bleaching and making up Hand Sheets 
 — Examination of Sulphite Liquors — Estimation of Moisture in Pulp and Half-stuff — Recom- 
 mendations of the British Wood Pulp Association. Finished Products. — Paper Testing,. 
 including Physical, Chemical and Microscopical Tests, Area, Weight, Thickness, Apparent 
 Specific Gravity, Bulk or Air Space. Determination of Machine Direction, Thickness,. 
 Strength, Stretch, Resistance to Crumpling and Friction, Transparency, Absorbency and 
 other qualities of Blotting Papers — Determination of the Permeability of Filtering Papers — 
 Detection and Estimation of Animal and Vegetable Size in Paper — Sizing Qualities of 
 Paper — Fibrous Constituents — Microscopical Examination of Fibres — The Effect of Beating 
 on Fibres — Staining Fibres — Mineral Matter — Ash^ — Qualitative and Quantitative Examina- 
 tion of Mineral Matter — Examination of Coated Papers and Colouring Matters in Paper. 
 
18 
 
 CONTENTS OF "THE PAPER MILL CHBmST '—contd. 
 
 Table*.— English and Metrical Weights and iWeasures with Equivalents— Conversion of 
 Grams to Grains and vice w^rsi— Equivalent Costs per lb., cwt.,and ton — Decimal Equivalents 
 of lbs., qrs., and cwts. — Thermometric and Barometric Scales— Atomic Weights and Molecular 
 Weights— Factors for Calculating the Percentage of Substance Sought from the Weight of 
 Substance Found— Table of Solubilities of Substances Treated of in Paper Making— SpeciHc 
 Gravity Tables of such substances as are used in Paper Making, including Sulphuric Acid, 
 Hydrochloric Acid, Bleach, Milk of Lime, Caustic Soda, Carbonate of Soda, etc., giving 
 Percentage Strength with Specific Gravity and Degrees Tw.— Hardness Table for Soap 
 Tests— Dew Point— Wet and Dry Bulb Tables— Properties of Saturated Steam, giving 
 Temperature, Pressure and Volume— List of Different Machines used in the Paper Making 
 Industry, giving Size, Weight. Space Occupied, Power to Drive, Out-put and Approximate 
 Cost— Calculation of Moisture in Pulp— Rag-Boiling Tables, giving Percentages of Lime, 
 Soda and Time required— Loss in Weight in Rags and other Raw Materials during Boiling 
 and Bleaching — Conditions of Buying and Selling as laid down by the Paper Makers' Associa- 
 tion—Table of Names and Sizes of Papers — Table for ascertaining the Weight per Ream from 
 the Weight per Sheet— Calculations of Areas and Volumes— Logarithms— Blank pages for 
 Notes. 
 
 THE TREATMENT OF PAPER FOR SPECIAL 
 PURPOSES. By L. E. Andes. Translated from the 
 German. Crown 8vo. 48 Illustrations. 250 pp. Price 6s. net. (Post 
 free, 6s. 4d. home; 6~. 6d. abroad). 
 
 Contents. 
 
 1., Parchment Paper, Vejretable Parchment.— The Parchment Paper Machine- 
 Opaque Supple Parchment Paper — Thick Parchment — Krugler's Parchment Paper and Parch- 
 ment Slates— Double and Triple Osmotic Parchment— Utilising Waste Parchment Paper— 
 Parchmented Linen and Cotton — Parchment Millboard — Imitation Horn and Ivory from 
 Parchment Paper — Imitation Parchment Paper — Artificial Parchment — Testing the Sulphuric 
 Acid. II., Papers for Transfer Pictures. III., Papers for Preservative and Packing: 
 Purposes. — Butter Paper — Wax Paper — Paraffin Paper — Wrapping Paper for Silverware — 
 Waterproof Paper — Anticorrosive Paper. IV., Grained Transfer Papers. V., Fireproof and 
 Antifalsification Papers. VI., Paper Articles.— Vulcanised Paper Mache— Paper Bottles- 
 Plastic Articles of Paper— Waterproof Coverings for Walls and Ceilings— Paper Wheels, 
 Roofing and Boats— Pat er Barrels— Paper Boxes— Paper Horseshoes. VII., Gummed Paper 
 VIII., Hectograph Papers. IX., Insecticide Papers.— Fly Papers— Moth Papers. X., 
 Chalk and Leather Papers. — Glace Chalk Paper— Leather Paper— Imitation Leather. 
 XI., Luminous Papers— Blue-Print Papers— Blotting Papers. XII., Metal Papers— Medi- 
 cated Papers. XIII., Marbled Papers. XIV., Tracing and Copying Papers— Iridiscent or 
 Mother of Pearl Papers. XV., Photographic Papers — Shellac Paper — Fumigating Papers — 
 Test Papers. XVI., Papers for Cleaning: and Polishing Purposes— Glass Paper— 
 Pumic Paper— Emery Paper. XVII., Lithographic Transfer Papers. XIX., Sundry 
 Special Papers — Satin Paper— Enamel Paper — Cork Paper — Split Paper — Electric Paper — 
 Paper Matches— Magic Pictures— Laundry Blue Papers— Blue Paper for Bleachers. XX., 
 Waterproof Papers— Washable Drawing Papers — Washable Card— Washable Coloured Paper 
 —Waterproof Millboard— Sugar Paper. XXL, The Characteristics of Paper— Paper Testing. 
 
 Enamelling on Metal. 
 
 ENAMELS AND ENAMELLING. For Enamel Makers, 
 Workers in Gold and Silver, and Manufacturers of Objects of Art. 
 By Paul Randau. Translated from the German. With Sixteen Illus- 
 trations. Demy 8vo. 180 pp. Price 10s. 6d. net, (Post free, 10s. lOd. 
 home ; lis. abroad.) 
 
 THE ART OF ENAMELLING ON METAL. By W. 
 
 Norman Brown. Twenty-eight Illustrations. Crown 8vo. 60 pp. 
 Price 2s. 6d. net. (Post free, 2s. 9d. home and abroad.) 
 
 Silk Manufacture. 
 
 SILK THROWING AND WASTE SILK SPINNING. 
 
 By HoLLiNS Rayner. Demy 8vo. 170 pp. 117 lUus. Price 5s. net. 
 (Post free, 5s. 4d. home ; 5s. 6d. abroad.) 
 
 Contents. 
 
 The Silkworm— Cocoon Reeling and Qualities of Silk — Silk Throwing — Silk Wastes — The 
 -Preparation of Silk Waste for Degumming— Silk Waste Degumming, Schapping and Dis- 
 charging — The Opening and Dressing of Wastes — Silk Waste "Drawing" or "Preparing" 
 Machinery — Long Spinning— Short Spinning — Spinning and Finishing Processes— Utilisation 
 ■of Waste Products — Noil Spinning — Exhaust Noil Spinning. 
 
19 
 
 Books on Textile and Dyeing 
 Subjects. 
 
 THE CHEMICAL TECHNOLOGY OF TEXTILE 
 FIBRES : Their Origin, Structure, Preparation, Washing, 
 Bleaching, Dyeing, Printing and Dressing. By Dr. Georg von 
 Georgievics. Translated from the German by Charles Salter. 
 320 pp. Forty-seven Illustrations. Royal 8vo. Price 10s. 6d. net. 
 (Post free, lis. home ; lis. 3d. abroad.) 
 
 Contents. 
 
 The Textile Fibres— Washing, Bleaching;, Carbonising:— Mordants and Mor= 
 dantingf— Dyeing— Printingr—Dressing: and Finishing. 
 
 POWER-LOOM WEAVING AND YARN NUMBERING, 
 
 According to Various Systems, with Conversion Tables. Translated 
 from the German of Anthon Gruner. With Twenty-Six DiagframS- 
 in Colours. 150 pp. Crown 8vo. Price 7s. 6d. net. (Post free, 
 7s. 9d. home ; 8s. abroad.) 
 
 Contents. 
 
 Power=Looni Weaving in General. Various Systems of Looms — Mounting and 
 Starting the Power=Looni. English Looms — Tappet or Treadle Looms — Dobbies — 
 General Remarks on the Numbering, Reeling and Packing of Yarn— Appendix— Useful' 
 
 Hints. Calculating Warps — Weft Calculations — Calculations of Cost Price in Hanks. 
 
 TEXTILE RAW MATERIALS AND THEIR CON- 
 VERSION INTO YARNS. (The Study of the Raw 
 Materials and the Technology of the Spinning Process.) By Julius 
 ZiPSER. Translated from German by Charles Salter. 302 Illus- 
 trations. 500 pp. Demy 8vo. Price 10s. 6d. net. (Post free, lis. 
 home; lis. 6d. abroad.) 
 
 Contents. 
 
 PART I.— The Raw Materials Used in the Textile Industry. 
 
 Mineral Raw Materials. Vegetable Raw Materials. Animal Raw Materials.. 
 PART II.— The Technology of Spinning or the Conversion of Textile Raw 
 Materials into Yarn. 
 
 Spinninq Vegetable Raw Materials. Cotton Spinning— Installation of a Cotton 
 Mill — Spinning Waste Cotton and Waste Cotton Yarns — Flax Spinning — Fine Spinning — Tow 
 Spinning— Hemp Spinning — Spinning Hemp Tow String — Jute Spinning — Spinning Jute Line 
 Yarn — Utilising Jute Waste. 
 
 PART 111. — Spinning Animal Raw Materials. 
 
 Spinning Carded Woollen Yarn — Finishing Yarn — Worsted Spinning — Finishing Worsted 
 Yarn — Artificial Wool or Shoddy Spinning — Shoddy and Mungo Manufacture — Spinning 
 Shoddy and other Wool Substitutes — Spinning Waste Silk — Chappe Silk — Fine Spinning — 
 Index. 
 
 GRAMMAR OF TEXTILE DESIGN. By H. Nisbet, 
 
 Weaving and Designing Master, Bolton Municipal Technical School.. 
 Demy 8vo. 280 pp. 490 Illustrations and Diagrams. Price 6s. net. 
 (Post free, 6s. 4d. home ; 6s. 6d. abroad.) 
 
 Contents. 
 
 Chapter I., Introduction.— General Principle of Fabric Structure and the use of Design 
 Paper. 
 
 Chapter II., The Plain Weave and its Modifications.— The Plain, Calico, or 
 Tabby Weave.— Fi rmness of Texture — Variety of Texture — Variety of Form : Riobed Fabrics 
 — Corded Fabrics— Matt Weaves. 
 
 Chapter III., Twill and Kindred Weaves. — Classirication of Twill Weaves.— i. Con- 
 tinuous Twills— (a) Warp-face J wills— (b) Weft-Jace Twills— {c) Warp and Weft-face Twills— 
 The Angle of Twill — Influences affecting the Prominence of Twills and .Kindred Weaves (a) 
 Character of Weave, (b) Character of Yarn, (c) Number of Threads per Inch, (d) Direction of 
 Twill in Relation to the Direction of Tiuist in Yarn — 2. Zigzag or Wavy Twills — 3. Re= 
 arranged Twills: Satin Weaves— Table of Intervals of Selection for the Construction of 
 Satin Weaves — Corkscrew Twills — Rearrangement of Twill Weaves on Satin and other 
 Bases— 4. Combined Twills— 5. Broken Twills— 6. Figured or Ornamented Twills. 
 
 Chapter IV., Diamond and Kindred Weaves,— Diamond Weaves.— Honeycomb and 
 Kindred Weaves — Brighton Weaves — Sponge Weaves — Huck-a-Back and Kindred Weaves — 
 Grecian Weaves — Linear Zigzag Weaves. 
 
 Chapter V., Bedford Cords.— Plain Calico-ribbed Bedford Cords— Plain Twill-ribbed'. 
 Bedford Cords — Figured Bedford Cords — Tabulated Data of Part'culars relating to the Manu- 
 facture of Seventeen Varieties of Bedford Cord Fabrics described in this Chapter. 
 
 [Continued on next pag 
 
20 
 
 CONTENTS OF "GRAMMAR OF TEXTILE DESIGN"—- 
 
 continued. 
 
 Chapter VI., Backed Fabrics. — Weft-backed Fabrics — Warp-backed Fabrics — Reversible 
 •or Double-faced Fabrics. 
 
 Chapter VII., Fustians. — Varieties of Fustians. — Imperials or Swansdowns — Cantoons 
 •or Diagonals — Moleskins — Beaverteens — Velveteens and Velveteen Cutting — Ribbed or 
 CordeJ Velveteen — Figured Velveteen — Corduroy — Figured Corduroy — Corduroy Cutting 
 Machines. 
 
 Chapter VIII., Terry Pile Fabrics.— Meth ds of producing Terry Pile on Textile Fab- 
 rics — Terry-forming Devices — Varieties of Terry Fabrics — Action of the Reed in Relation to 
 Shedding — Figured Terry Weaving — Practical Details of Terry Weaving. 
 
 Chapter IX., Gauze and Lend Fabrics. — Gauze, Net Leno, and Leno Brocade 
 Varieties of Cross-Weaving. — Plain Gauze, and a Heald Gauze or Leno Harness — Net 
 Leno Fabrics — Gauze and Net Leno Figuring by means of several Back Standard Healds to 
 •each Doup Heald— Leno Specialities produced by a System of Crossing- Warp Ends in 
 front of the Reed — A Device for the Production of Special Leno Effects — Full Cross Leno 
 Fabrics — Relative Merits of a Top and a Bottom Doup Harness — Relative Merits of Different 
 Types of Dobbies for Gauze and Leno Fabrics— Shaking Devices for Leno Weaving — Practical 
 Details of Leno Weaving — Tempered Steel-wire Doup Harnesses for Cross-weaving-— 
 IVIock or Imitation Leno Fabrics. 
 
 Chapter X, TissuE, Lappet, and Swivel Figuring; also Ondulk Effects, and 
 Looped Fabrics. — Tissue Figuring — Madras Muslin Curtains — Lappet Figuring — Spot 
 Lappet Figuring; — Swivel Figuring — Woven Ondule Effects — Loom for Weavi ig Onduld 
 Effects — Weft OnJule Effects — Looped Fabrics. — Index. 
 
 ART NEEDLEWORK AND DESIGN. POINT LACE. A 
 
 Manual of Applied Art for Secondary Schools and Continuation Classes. 
 By M. E. Wilkinson. Oblong quarto. With 22 Plates. Bound in 
 Art Linen. Price 3s. 6d. net. (Post free, 3s. lOd. home ; 4s. abroad.) 
 Contents. 
 
 Sampler of Lace Stitches — Directions for -working Point Lace, tracing Patterns, etc. — 
 List of Materials and Implements required for working. Plates I., Simple Lines, Straight and 
 Slanting, and Designs formed from them. II., Patterns formed from Lines in previous 
 Lesson. III., Patterns formed from Lines in previous Lesson. IV., Simple Curves, and 
 Designs formed from them. V., Simple Leaf form, and Designs formed from it. VI., Ele- 
 mentary Geometrical forms, with Definitions. VII., Exercises on previous Lessons. VIII., 
 Filling of a Square, Oblong and Circle with Lace Stitches. IX., Design for Tie End, based 
 on simple Leaf form. X., Lace Butterflies (Freehand). XI.. Twenty simple Designs evolved 
 from. Honiton Braid Leaf. XII., Design for Lace Handkerchief, based on previous Lesson. 
 XIII., Design for Tea-cosy. XIV., Freehand Lace Collar. XV., Freehand Lace Cuff (to 
 match). XVI., Application of Spray from Lesson XL XVII., Adaptation of Curves within 
 a Square, for Lace Cushion Centre. XVIII., Conventional Spray for corner of Tea-cloth. 
 XIX., Geometrical form for Rosebowl D'Oyley, to be originally filled in. XX., Geometrical 
 form for Flower-vase D'Oyley, to be originally filled in. Each Lesson contains Instructions 
 for Working, and application of new Stitches from Sampler. 
 
 HOME LACE-MAKING. A Handbook for Teachers and 
 Pupils. By M. E. W. iWiLROY. Crown 8vo. 64 pp. With 3 Plates 
 and 9 Diagrams. Price Is. net. (Post free, Is. 3d. home ; Is. 4d. 
 abroad.) 
 
 •THE CHEMISTRY OF HAT MANUFACTURING. Lec- 
 tures delivered before the Hat Manufacturers' Association. By Wat- 
 son Smith, F.C.S. , F.I.C. Revised and Edited by Albert Shonk. 
 Crown 8vo. 132 pp. 16 Illustrations. Price 7s. 6d. net. (Post free, 
 7s. 9d. home ; 7s. lOd. abroad.) 
 
 THE TECHNICAL TESTING OF YARNS AND TEX- 
 TILE FABRICS. With Reference to Official Specifica- 
 tions. Translated from the German of Dr. J. Herzfeld. Second 
 Edition. Si.xty-nine Illustrations. 200 pp. Demy 8vo. Price 10s. 6d. 
 net. (Post free, 10s. lOd. home ; lis. abroad.) 
 
 DECORATIVE AND FANCY TEXTILE FABRICS. 
 
 By R. T. Lord. For Manufacturers and Designers of Carpets, Damask, 
 Dress and all Textile Fabrics. 200 pp. Demy 8vo. 132 Designs and 
 Illustrations. Price7s.6d.net. (Post free, 7s. lOd. home ; 8s. abroad.) 
 
 THEORY AND PRACTICE OF DAMASK WEAVING. 
 
 By H. KiNZER and K. Walter. Royal 8vo. Eighteen Folding Plates. 
 Six Illustrations. Translated from the German. 110 pp. Price 8s. 6d. 
 net. (Post free, 9s. home ; 9s. 6d. abroad.) 
 
21 
 
 TEXTILE BOOKS— continued. 
 Contents. 
 
 The Various Sorts of Damask Fabrics— Drill (Ticking, Handloom-made)— Whole 
 Damask for Tablecloths— Damask with Ground- and Connecting-warp Threads— Furniture 
 Damask— Lampas or Hangings— Church Damasks— The Manufacture of Whole Damask 
 —Damask Arrangement wiih and without Cross-Shedding— The Altered Cone-arrangement— 
 The Principle of the Corner Lifting Cord— The Roller Principle— The Combination of the 
 Jacquard with the so-called Damask Machine— The Special Damask Machine— The Combina- 
 tion of Two Tyings. 
 
 FAULTS IN THE MANUFACTURE OF WOOLLEN 
 GOODS AND THEIR PREVENTION. By Nicolas 
 Reiser. Translated from the Second German Edition. Crown 8vo. 
 Sixty-three Illustrations. 170 pp. Price 5s. net. (Post free, 5s. 4d. 
 home ; 5s. 6d. abroad.) 
 
 Contents. 
 
 Improperly Chosen Raw Material or Improper Mixtures— Wrong Treatment of the 
 Material in Washing, Carbonisation, Drying, Dyeing and Spinning— Improper Spacmg of the 
 Goods in the Loom— Wrong Placing of Colours— Wrong Weight or Width of the Goods 
 —Breaking of Warp and Weft Threads— Presence of Doubles, Singles, Thick, Loose, 
 and too Hard Twisted Threads as well as Tangles, Thick Knots and the Like— Errors in 
 Cross-weaving— Inequalities, i.e.. Bands and Stripes— Dirty Borders— Defective Selvedges- 
 Holes and Buttons— Rubbed Places— Creases— Spots— Loose and Bad Colours— Badly Dyed 
 Selvedges— Hard Goods— Brittle Goods— Uneven Goods— Removal of Bands, Stripes, 
 Creases and Spots. 
 
 SPINNING AND WEAVING CALCULATIONS, especially 
 relating to Woollens. From the German of N. Reiser. Thirty-four 
 Illustrations. Tables. 160 pp. Demy 8vo. 1904. Pricel0s.6d.net. 
 (Post free, 10s. lOd. home; lis. abroad.) 
 
 Contents. . 
 
 Calculating the Raw Material— Proportion of Different Grades of Wool to Furnish a 
 Mixture at a Given Price— Quantity to Produce a Given Length— Yarn Calculations— Yarn 
 Number— Working Calculations— Calculating the Reed Count— Cost of Weaving, etc. 
 
 WATERPROOFING OF FABRICS. By Dr. S. Mierzinski. 
 Crown 8vo. 104 pp. 29 lUus. Price 5s. net. (Post free, 5s. 3d. home ; 
 5s. 4d. abroad.) 
 
 Contents. 
 
 Introduction — Preliminary Treatment of the Fabric — Waterproofing with Acetate of 
 Alumina— Impregnation of the Fabric— Drying— Waterproofing with Paraffin— Waterproofing 
 with Ammonium Cuprate — Waterproofing with Metallic Oxides — Coloured \yaterproof 
 Fabrics— Waterproofing with Gelatine, Tannin, Caseinate of Lime and other Bodies — Manu- 
 facture of Tarpaulin— British Waterproofing Patents— Index. 
 
 HOW TO MAKE A WOOLLEN MILL PAY. By John 
 Mackfe. Crown 8vo. 76 pp. Price 3s. 6d. net. (Post free, 3s. 9d. 
 home ; 3s. lOd. abroad.) 
 
 Contents. 
 
 Blends, Piles, or Mixtures of Clean Scoured Wools— Dyed Wool Book— The Order Book 
 —Pattern Duplicate Books— Management and Oversight— Constant Inspection of Mill De- 
 partments—Importance of Delivering Goods to Time, Shade, Strength, etc.— Plums. 
 
 (For " Textile Soaps and Oils " see p. j.) 
 
 Dyeing, Colour Printing, 
 Matching and Dye-stuffs. 
 
 THE COLOUR PRINTING OF CARPET YARNS. Manual 
 for Colour Chemists and Textile Printers. By David Paterson, 
 F.C.S. Seventeen Illustrations. 136 pp. Demy 8vo. Price 7s. 6d. 
 net. (Post free, 7s. lOd. home ; 8s. abroad.) 
 
 Contents. 
 
 Structure and Constitution of Wool Fibre— Yarn Scouring— Scouring Materials— Water tor 
 Scouring— Bleaching Carpet Yarns— Colour Making for Yarn Printing— Colour Printing 
 Pastes— Colour Recipes for Yarn Printing— Science of Colour Mixing— Matching of Colours 
 —"Hank" Printing— Printing Tapestry Carpet Yarns— Yarn Printing— Steaming Printed 
 Yarns-Washing of Steamed Yarns— Aniline Colours Suitable for Yarn Printing— Glossary of 
 Dyes and Dye-wares used in Wood Yarn Printing— Appendix. 
 
22 
 
 THE SCIENCE OF COLOUR MIXING. A Manual in- 
 tended for the use of Dyers, Calico Printers and Colour Chemists. By 
 David Paterson, F.C.S. Forty-one Illustrations, Five Coloured Plates, 
 and Four Plates showing: Eleven Dyed Specimens of Fabrics. 132 
 
 pp. Demy 8vo. Price 7s. 6d. net. (Post free, 7s. lOd. home • 8s.. 
 abroad.) ' 
 „ , ^ Contents. 
 
 Colour a Sensation; Colours of Illuminated Bodies; Colours of Opaque and Transparent 
 K» .[^''j' ,X,^ Colour— Analysis of Light: Spectrum; Homogeneous Colours; Ready 
 Method of Obtammg a Spectrum— Examination of Solar Spectrum ; The Spectroscope and' 
 Its Construction ;Colourists' Use of the Spectroscope— Colour by Absorption ; Solutions and 
 Uyed habrics; Dichroic Coloured Fabrics in Gaslight— Colour Primaries of the Scientist 
 versus the Dyer and Artist; Colour Mixing by Rotation and Lye Dyeing- Hue Purity 
 Brightness; Tints; Shades, Scales, Tones, Sad and Sombre Colours-Colour Mixing - Pure- 
 and Impure Greens, Orange and Violets; Large Variety of Shades from few Colours; Con- 
 sideration of the Practical Primaries: Red, Yellow and Blue— Secondary Colours ; Nomen- 
 clature of Violet and Purple Group; Tints and Shades of Violet; Changes in Artificial Light 
 — I ertiary Shades; Broken Hues; Absorption Spectra of Tertiary Shades— Appendix ; Four- 
 Plates with Dyed Specimens Illustrating Text— Index. 
 
 DYERS' MATERIALS: An Introduction to the Examination, 
 Evaluation and Application of the most important Substances used in 
 Dyeing, Printing, Bleaching and Finishing. By Paul Heerman, Ph.D. 
 Translated from the German by A. C. Wright, M.A. (Oxon.), B.Sc. 
 (Lond.). Twenty-four Illustrations. Crown 8vo. 150 pp. Price 5s. 
 net. (Post free, 5s. 4d. home ; 5s. 6d. abroad.) 
 
 COLOUR MATCHING ON TEXTILES. A Manual in- 
 tended for the use of Students of Colour Chemistry, Dyeing and 
 Textile Printing. By David Paterson, F.C.S. Coloured Frontis- 
 piece. Twenty-nine Illustrations and Fourteen Specimens of Dyed! 
 Fabrics. Demy 8vo. 132 pp. Price 7s. 6d. net. (Post free, 7s. lOd. 
 home ; 8s. abroad.) 
 
 Contents. 
 
 Colour Vision and Structure of the Eye— Perception of Colour— Pri.Tiary and Comple- 
 '"^•'J''^ Colour Sensations— Daylight for Colour Matching— Selection of a Good Pure Light 
 —Diffused Daylight, Direct Sunlight, Blue Skylight, Variability of Daylight, etc., etc.— 
 Matching of Hues— Purity and Luminosity of Colours— Matching Bright Hues— Aid of Tinted 
 Difficulties Arising from Contrast— Examination of Colours by Reflected' 
 ^"iil u"^'""'^'' Lights— Effect of Lustre and transparency of Fibres in Colour Matching 
 —Matching of Colours on Velvet Pile— Optical Properties of Dye-stuffs, Dichroism, Fluor- 
 escence—Use of Tinted Mediums— Orange Film— Defects of the Eye— Yellowing of the Lens 
 —Colour Blindness, etc.— Matching of Dyed Silk Trimmings and Linings and Bindings— It& 
 Difficulties— Behaviour of Shades in Artificial Light— Colour Matching of Old Fabrics, etc.— 
 Examination of Dyed Colours under the Artificial Lights— Electric Arc, Magnesium and Dufton, 
 Gardner Lights, Welsbach, Acetylene, etc.— Testing Qualities of an Illuminant— Influence 
 of the Absorption Spectrum in Changes of Hue under the Artificial Lights— Study of the 
 Causes of Abnormal Modifications of Hue, etc. 
 
 COLOUR: A HANDBOOK OP THE THEORY OP 
 COLOUR. By George H. Hurst, F.C.S. With Ten 
 Coloured Plates and Seventy-two Illustrations. 160 pp. Demy 8vo. 
 Price 7s. 6d. net. (Post free, 7s. lOd. home ; 8s. abroad.) 
 „ , Contents. 
 
 Colour and Its Production— Cause of Colour in Coloured Bodies— Colour Pheno^ 
 mena and Theories— The Physiology of Light— Contrast— Colour in Decoration an(» 
 Design— Measurement of Colour. 
 
 Reissue ol 
 
 THE ART OP DYEING WOOL, SILK AND COTTON. 
 
 Translated from the French of M. Hellot, M. Macquer and M. le 
 PiLEUR D'Apligny. First Published in English in 1789. Six Plates. 
 Demy 8vo. 446 pp. Price 5s. net. (Post free, 5s. 6d. home; 6s. 
 abroad.) 
 
 Contents. 
 
 ^^rJ ^ vl*'* Dyeing Wool and Woollen Cloth, Stuffs, Yarn, Worsted, etc. 
 
 I' J*** *** Dyeing Silk. Part III,, The Art of Dyeing Cotton and Linen 
 I hread, together with the Method of Stamping 5ilks, Cottons, etc. 
 
23 
 
 THE CHEMISTRY OP DYE-STUFFS. By Dr. Georg Von 
 Georgievics. Translated from the Second German Edition. 412 pp. 
 Demy 8vo. Price 10s. 6d. net. (Post free, lis. home ; lis. 6d. abroad.) 
 Contents. 
 
 Introduction — Coal Tar — Intermediate Products in the Manufacture of Dye-stuffs — The 
 Artificial Dye-stuffs (Coal-tar Dyes) — Nitroso Dye-stuffs — Nitro Dye-stuffs — Azo Dye-stuffs — 
 Substantive Cotton Dye-stuffs — Azoxystilbene Dye-stuffs — Hydrazones — Ketoneimides — 
 Triphenylmethane Dye-stuffs — Rosolic Acid Dye-stuffs — Xanthene Dye-stuffs — Xanthone Dye- 
 stuffs — Flavones — Oxyketone Dye-stuffs — Quinoline and Acridine Dye-stuffs— Quinonimide 
 or Diphenylamine Dye-stuffs — The Azine Group: Eurhodines, Safranines and Indulines — 
 Eurhodines — Safranines — Quinoxalines — Indigo — Dye-stuffs of Unknown Constitution — 
 Sulphur or Sulphine Dye-stuffs — Development of the Artificial Dye-stuff Industry — The 
 Natural Dye-stuffs — Mineral Colours — Index. 
 
 THE DYEING OF COTTON FABRICS: A Practical 
 Handbook for the Dyer and Student. By Franklin Beech, Practical 
 Colourist and Chemist. 272 pp. Forty-four Illustrations of Bleaching 
 and Dyeing Machinery. Demy 8vo. Price 7s. 6d. net. (Post free, 
 7s. lOd. home; 8s. abroad.) 
 
 Contents. 
 
 Structure and Chemistry of the Cotton Fibre — Scouring and Bleaching of Cotton — Dyeing 
 Machinery and Dyeing Manipulations — Principles and Practice of Cotton Dyeing — Direct 
 Dyeing ; jDirect Dyeing followed by Fixation with Metallic Salts ; Direct Dyeing followed by 
 Fixation with Developers; Direct Dyeing followed by Fixation with Couplers; Dyeing on 
 Tannic Mordant ; Dyeing on Metallic Mordant ; Production of Colour Direct upon Cotton 
 Fibres ; Dyeing Cotton by Impregnation with Dye-stuff Solution — Dyeing Union (Mixed Cotton 
 ■and Wool) Fabrics — Dyeing Half Silk (Cotton-Silk, Satin) Fabrics — Operations following 
 Dyeing — Washing, Soaping, Drying — Testing of the Colour of Dyed Fabrics — Experimental 
 Dyeing and Comparative Dye Testing — Index. 
 
 The book contains numerous recipes for the production on Cotton Fabrics of all kinds of a 
 :great range of colours. 
 
 THE DYEING OF WOOLLEN FABRICS. By Franklin 
 Beech, Practical Colourist and Chemist. Thirty-three Illustrations. 
 Demy 8vo. 228 pp. Price 7s. 6d. net. (Post free, 7s. lOd. home ; 
 8s. abroad.) 
 
 Contents. 
 
 The Wool Fibre — Structure, Composition and Properties — Processes Preparatory to Dyeing 
 — Scouring and Bleaching of Wool — Dyeing Machinery and Dyeing Manipulations — Loose 
 "Wool Dyeing, Yarn Dyeing and Piece Dyeing Machinery — The Principles and Practice of 
 Wool Dyeing — Properties of Wool Dyeing — Methods of Wool Dyeing — Groups of Dyes — 
 Dyeing with the Direct Dyes — Dyeing with Basic Dyes — Dyeing with Acid Dyes — Dyeing 
 ■with Mordant Dyes — Level Dyeing — Blacks on Wool — Reds on Wool — Mordanting of Wool — 
 Orange Shades on Wool— Yellow Shades on Wool — Green Shades on Wool — Blue Shades on 
 Wool — Violet Shades on Wool — Brown Shades on Wool — Mode Colours on Wool — Dyeing 
 Union (Mixed Cotton Wool) Fabrics — Dyeing of Gloria — Operations following Dyeing — 
 Washing, Soaping, Drying — Experimental Dyeing and Comparative Dye Testing — Testing of 
 the Colour of Dyed Fabrics — Index. 
 
 Bleaching and Washing. 
 
 A PRACTICAL TREATISE ON THE BLEACHING OF 
 LINEN AND COTTON YARN AND FABRICS. By 
 
 L. Tailfer, Chemical and Mechanical Engineer. Translated from the 
 French by John Geddes McIntosh. Demy 8vo. 303 pp. Twenty 
 Illus. Price 12s. 6d. net. (Post free, 13s. home; 13s. 6d. abroad.) 
 
 Cotton Spinning and Combing. 
 
 COTTON SPINNING (First Year). By Thomas Thornley, 
 Spinning Master, Bolton Technical School. 160 pp. Eighty-four Illus- 
 trations. Crown 8vo. Second Impression. Price 3s. net. (Post free, 
 3s. 4d. home ; 3s. 6d. abroad.) 
 
 Contents. 
 
 Syllabus and Examination Papers of the City and Guilds of London Institute — Cultiva- 
 tion, Classification, Ginning, Baling and Mixing of the Raw Cotton — Bale-Breakers, Mixing 
 Lattices and Hopper Feeders — Opening and Scutching — Carding — Indexes. 
 
24 
 
 COTTON SPINNING (Intermediate, or Second Year), By 
 Thomas Thornley. Second Impression. 180 pp. Seventy Illustra- 
 tions. Crown 8vo. Price 5s. net. (Post free, 5s. 4d. home; 5s. 6d. 
 abroad.) 
 
 Contents. 
 
 Syllabuses and Examination Papers of the City and Guilds of London Institute — The 
 Combing Process — The Drawing Frame — Bobbin and Fly Frames — iMule Spinning — Ring 
 Spinning — General Indexes. 
 
 COTTON SPINNING (Honours, or Third Year). By Thomas 
 Thornley. 216 pp. Seventy-four Illustrations. Crown Svo. Second 
 Edition. Price 5s. net. (Post free, 5s. 4d. home ; 5s. 6d. abroad.) 
 Contents. 
 
 Syllabuses and Examination Papers of the City and Guilds of London Institute — Cotton — ■ 
 The Practical Manipulation of Cotton Spinning Machinery — Doubling and Winding — Reeling 
 — Warping — Production and Costs — Main Driving — Arrangement of Machinery and Mill 
 Planning — Waste and Waste Spinning — Indexes. 
 
 COTTON COMBING MACHINES. By Thos. Thornley, 
 Spinning Master, Technical School, Bolton. Demy Svo. 117 Illustra- 
 tions. 300 pp. Price 7s. 6d. net. (Post free, 8s. home ; 8s. 6d. abroad.) 
 Contents. 
 
 The Sliver Lap Machine and the Ribbon Cap Machine — General Description of the Heilmann 
 Comber — The Cam Shaft — On the Detaching and Attaching Mechanism of the Comber — 
 Resetting of Combers — The Erection of a Heilmann Comber— Stop Motions : Various Calcu- 
 lations — Various Notes and Discussions — Cotton Combing Machines of Continental Make — 
 Index. 
 
 Flax, Hemp and Jute Spinning. 
 
 MODERN FLAX, HEMP AND JUTE SPINNING AND 
 TWISTING. A Practical Handbook for the use of Flax, 
 Hemp and Jute Spinners, Thread, Twine and Rope Makers. By 
 Herbert R. Carter, iMill Manager, Textile Expert and Engineer, 
 Examiner in Flax Spinning to the City and Guilds of London 
 Institute. Demy Svo. 1907. With 92 Illustrations. 200 pp. Price 
 7s. 6d. net. (Post free, 7s. 9d. home ; 8s. abroad.) 
 
 Contents. 
 
 Raw Fibre. — Origin of Flax — Hemp and Jute Fibre — Description of the Plants — Mode of 
 Cultivation — Suitable Climate and Soil — Sowing — Harvesting — Rippling Flax and Hemp — 
 Water Retting — Dew Retting — Extraction of the Fibre— Marketing the Fibre — Bracquing — 
 Flax, Hemp and Jute Marks — Comparative Prices — Ports of Export — Trade Centres — Fibre 
 Selling Conditions — Duty on Fibre — Fibre Exports. Hackling-. — Sorting and Storing the 
 Raw Fibre — Softening Hemp and Jute — Jute Batching — Cutting — Piecing Out — Roughing — 
 Hackling by Hand and Machine — Tippling — Sorting — Ventilation of Hackling Rooms. Sliver 
 Formation. — Spreading Line— Heavy Spreading System — Good's Combined Hackle and 
 Spreader — Jute Breaking and Carding — Flax and Hemp Tow Carding — Bell Calculation — 
 Clock System— Theory of Spreading. Line and Tow F*reparins:. — Drawing and Doubling 
 — Draft Calculation— Set Calculation — Tow Combing — Compound Systems — Automatic Stop 
 Motions and Independent Heads — Details of Preparing Machinery — Ventilation — Humidifica- 
 tion. Gill Spinning. — Gill Spinning for Shoe Threads, Rope Yarns, Binder and Trawl 
 Twines — The Automatic Gill Spinnei — Rope and Reaper Yarn Numbering. The Flax, 
 Hemp and Jute Roving: Frame. — Bobbin Winding — Differential Motion — Twist Calculation 
 —Practical Changing— Rove Stock. Dry and Half-Dry Spinning. — Flyer and Ring 
 Frames — Draft and Twist Calculation — Bobbin Dragging— Reaches — Set of Breast Beam 
 and Tin-rod. Wet Spinning of Flax, Hemp and Tow— Hot and Cold Water Spinning — 
 Improvements in the Water Trough — Turn off and Speed of Spindles — Reaches — IBelting — 
 Band Tying — Tape Driving — Oiling — Black Threads — Cuts per Spindle — Ventilation of the 
 Wet Spinning Room. Yarn Department. — Reeling — Cop Winding — Cheese and Spool 
 Winding — Balling Shoe Thread, Reaper Yarn, etc. — Yarn Drying and Conditioning — Yarn 
 Bundling — Yarn Baling — Weight of Yarn — Yarn Tables — Duty on Yarn Imports. Manufac^ 
 ture of Threads, Twines and Cords. — Hank Winding— Wet and Dry Twisting— Cabling — 
 Fancy Yarns — Twine Laying — Sizing and Polishing Threads and Twines — Softening Threads 
 — Skeining Threads— Balling Twines — Leeson's Universal Winder — Handing Twines — Spool- 
 ing Sewing Threads— Comparative Prices of Flax and Hemp Cords, Lines and Threads. 
 Rope Making. — Construction of Hawsers and Cables — Stranding — Laying and Closing — 
 Compound Rope Machines — Rules for Rope Makers — Weight of Ropes — Balling and Coiling 
 Ropes. Mechanical Department.— Boilers, Engines and Turbines — Power Transmission 
 by Belts and Ropes— Electric Light and Power Transmission — Fans— Oils and Oiling — 
 Repairs — Fluting. Mill Construction. — Flax, Hemp and Jute Spinning Mills and Ropeworks 
 — Heating — Roofs — Chimneys, etc. 
 
25 
 
 Collieries and Mines. 
 
 RECOVERY WORK AFTER PIT FIRES. By Robert 
 Lamprecht, Mining Engineer and Manager. Translated from the 
 German. Illustrated by Six large Plates, containmg Seventy-six 
 Illustrations. 175 pp., demy 8vo. Price 10s. 6d. net. (Post free, 
 10s. lOd. home; lis. abroad.) 
 
 Contents. , ^ „ • . ^ 
 
 Causes of Pit Fires-Preventive Regulations : (1) The Outbreak and Rap.d Extension 
 of a Shift Fire can be most reliably prevented by Employing little or no Combustible Material 
 ,n the Construction of the Shaft: (2) Precautions for Rapidly Localising an Outbreak of Fire in 
 tL Shaft (3) Precautions to be Adopted in case those under 1 and 2 Fail or Prove Inefficient 
 Precautions against Spontaneous Ignition of Coal. Precautions for Preventing Explosions of 
 F'reTamp and Coal Dust. Employment of Electricity in Mining, particularly in Fiery Pits. 
 Fxnerfmenrs on the Ignition of Fire-damp Mixtures and Clouds of Coal Dust by Electr.city- 
 fndTcaUons of an Existing or Incipient Fire-Appliinces for Working in Irrespirable 
 Ks Tesp?ra?o^^^^ Apparatus with Air Supply Pipes; Reservoir Apparatus; 
 
 O^gen Apparatus-E:rtinguishing Pit Fires: (a) Chemical Means; (6) Extinction with 
 wJtIr Dragging down the Burning Masses and Packing with Clay ; (c) Insulating the Seat 
 of thi Fire by Dams. Dam Building.^ Analyses of Frre Gases. Isolating the Seat of a Fire 
 with Dams Working in Irrespirable Gases ("Gas-diving"): Air-Lock Work. Complete 
 Isolat"n of the Pit. Flooding^ Burning Section isolated by means of Dams. Wooden 
 Dams Masonry Dams. Examples of Cylindrical and Dome-shaped Dams Dam Doors: 
 Flooding the Whole Pit-Rescue Stations: {a) Stations above Ground; (6) Underground 
 Rescue Stations— Spontaneous Ignition of Coal in Bulk— Index. 
 
 VENTILATION IN MINES. By Robert Wabner, Mining 
 Engineer Translated from the German. Royal 8vo. Thirty Plates 
 and Twenty-two Illustrations. 240 pp. Price 10s. 6d. net. (Post free, 
 lis. home ; lis. 3d. abroad.) 
 
 HAULAGE AND WINDING APPLIANCES USED IN 
 MINES. By Carl Volk. Translated from the German. 
 Royal 8vo. With Six Plates and 148 Illustrations. 150 pp. Price 
 8s. 6d. net. (Post free, 9s. home; 9s. 3d. abroad.) 
 
 Contents. , ^. , ,. 
 
 Haulaee Appliances-Ropes-Haulage Tubs and Tracks-Cages and Winding Appliances-- 
 Winding Engines for Vertical Shafts-Winding without Ropes-Haulage ,n Levels and 
 Inclines-The Working of Underground Engines-Machinery for Downhill Haulage. 
 
 THE ELECTRICAL EQUIPMENT OF COLLIERIES. By 
 
 W Galloway Duncan, Electrical and Mechanical Engineer, Member 
 of the Institution of Mining Engineers, Head of the Government School 
 of Engineering, Dacca, India ; and David Penman, Certificated Colliery 
 Manager, Lecturer in Mining to Fife County Committee. Demy 8vo. 
 310 pp. 155 Illustrations and Diagrams. Price 10s. 6d. net. (Post 
 free, lis. home ; Us. 3d. abroad.) 
 
 Contents. . ^ 
 
 General Principles, Magnetism, Units, Cells, etc.-Dynamos and Motors-Trans= 
 mission and Distribution of Power— Prime Movers-Lighting by Electr city-lnitial 
 Outlirand WorkVng Cost of Electrical installations-Electricity Applied to CoaU 
 cutting-Electric Rlulage. Winding, and Locomotives-Electric Pumps and Pump= 
 i^^ff-E^ect^ric"power Drills and Underground Coal Conveyers-Typical Colliery 
 Electrical "nstallations-Miscellaneous Applications of the Electric Current-Com= 
 parison of the Different Modes of Transmitting Power-Dangers Occurring from the 
 Use of Electricity in Collieries-APPENDix : Questions suitable for students preparing for 
 colliery managers' examinations— Index. 
 
 Dental Metallurgy. 
 
 DENTAL METALLURGY : MANUAL FOR STUDENTS 
 AND DENTISTS. By A. B. Griffiths, Ph.D. Demy 
 Bvo. Thirty-six Illustrations. 200 pp. Price 7s. 6d. net. (Post free, 
 7s. lOd. home ; 8s. abroad.) 
 
 Contents. 
 
 Introduction-Physical Properties of the Metals— Action of Certain Agents on Metals- 
 Alloys-Action of Oral Bacteria on Alloys-Theory and Varieties °f . Blo*P'P«-Fl"''es- 
 Furnaces and Appliances-Heat and Temperature-Gold-Mercury-S,lver-Iron-C^^^^^^^ 
 Zinc-Magnesium— Cadmium-Tin-Lead - Aluminium-Antimony - Bismuth - Palladium- 
 Platinum— Iridium— Nickel— Practical Work— Weights and Measures. 
 
26 
 
 Engineering, Smoke Prevention 
 and Metallurgy. 
 
 THE PREVENTION OF SMOKE. Combined with the 
 Economical Combustion of Fuel. By W. C. Popplewell, M Sc 
 A.M.Inst., C.E., Consulting Engineer. Forty-six Illustrations. 190 pp 
 Demy 8vo. Price 7s. 6d. net. (Post free, 7s. lOd. home ; 8s. 3d. abroad V 
 c , . ^ , Contents. 
 
 huel andCombustion— Hand Firing in Boiler Furnaces-Stoking by Mechanical Mean^ 
 sZurT ?^'^v?T°"lf"'^'-^F'^'^"'=y ^"'l Smoke Tests of Bilers-Some sSai:^ 
 t1,T P;e7entioVo?l^o1e-^E °^ ^""^'^ Q"estion-The Best Means to be adoptTd'fot 
 
 GAS AND COAL DUST FIRING. A Critical Review of 
 ^PP*'%"<?.es Patented in Germany for this purpose since 
 1885. By Albert Putsch. 130 pp. Demy 8vo. Translated from the 
 German. With 103 Illustrations. Price 5s. net. (Post free 5s 4d 
 home; 5s. 6d. abroad.) ' ' 
 
 ^ , ^ Contents. 
 
 r>;.^^rr Employing Steam-Stirring and Feed Regulating Appliances- 
 
 D.rect Generators-Burners-Regenerators and Recuperators-Glass Sme ting Furnaces- 
 Metallurgical Furnaces-Pottery Furnace-Coal Dust Finng-Index. ^"^naces- 
 
 THE HARDENING AND TEMPERING OF STEEL 
 IN THEORY AND PRACTICE. By Fridolin Reiser." 
 Translated from the German of the Third Edition. Crown 8vo 
 120 pp. Price 5s. net. (Post free, 5s. 3d. home; 5s. 4d. abroad.) 
 c* 1 . . Contents. 
 
 SIDEROLOGY: THE SCIENCE OF IRON (The Con- 
 stitution of Iron Alloys and Slags). Translated from German of 
 Hanns Fheiherr v. Juptner. 350 pp. Demy 8vo. Eleven Plates 
 ^^ L [""^t/ft'ons. Price 10s. 6d. net. (Post free, lis. home; 
 lis. 6d. abroad.) ' 
 
 Tu^ Ti. i c . . Contents. 
 
 I he I heory of Solution.— Solutions— Molten Alloys— Varieties of Solutions— OsmoHr^ 
 l,e„r„nl™ ill?';"''?; M.crogr«phical Co«.„o.i,i„„, C.rboa-Conl.f,, S.J Therm.r?S., 
 
 termina ,on of the Chemical Composition of the Carbon present m I ron Alio ys-The Co^^ 
 Tron VlZ~A°S^ln" clZf^'^t^'^^ Alloys-Mrnganese-Remai'Sco'rlltifrnt'of 
 
 c^cu^^^ t4 ^^^^r^f s^t^^^s^^^,-^^'^^^!^ 
 
 EVAPORATING, CONDENSING AND COOLING AP- 
 PARATUS. Explanations, Formulae and Tables for Use 
 Wo^T^"*'?,- A Hausbrand, Engineer. Translated by A. C. 
 
 Wright M.A. (OxonO, B.Sc. (Lond.). With Twenty-one Illustra- 
 tions and Seventy-six Tables. 400 pp. Demy8vo. Pricel0s.6d.net. 
 (Post free, lis. home; lis. 6d. abroad.) 
 D ce ^ „ Contents. 
 
 ReCoefficjent of Transmission of Heat, kA and the Mean Temperature Difference, 
 S^fni^irl Currents-Apparatus for Heating with Direct Fire-The Injection of 
 
 f^rln.. f ft^^-^-Superheated Steam-Evaporation by Means of Hot Liquidl-T^he Trans- 
 ThTTrL ^"'^ Transference by means of Saturated S e>m in PardcXr 
 
 -The Transference of Heat from Saturated Steam in Pipes (Coils) and Double Bo tom^ 
 -Eyaporafon m a Vacuum-The Multiple-effect Eyaporator-MuItipl-effect fita^ora^^^^^ 
 
27 
 
 Contents of '* Evaporating, Condensing; and Cooling 
 
 ADl3a.rSl.tUS" .—continued. . 
 from which Extra Steam is Taken — The Weight of Water which must be Evaporated from 
 100 Kilos, of Liquor in order its Original Percentage of Dry Materials from 1-25 per cent, 
 up to 20-70 per cent. — The Relative Proportion of the Heating Surfaces in the Elements 
 of the Multiple Evaporator and their Actual Dimensions — The Pressure Exerted by Currents 
 of Steam and Gas upon Floating Drops of Water — The Motion of Floating Drops of Water 
 upon which Press Currents of Steam — The Splashing of Evaporating Liquids — The Diameter 
 of Pipes for Steam, Alcohol, Vapour and Air — The Diameter of Water Pipes — The Loss 
 •of Heat from Apparatus and Pipes to the Surrounding Air, and Means for Preventing 
 the Loss — Condensers — Heating Liquids by Means of Steam — The Cooling of Liquids — 
 The Volumes to be Exhausted from Condensers by the Air-pumps — A Few Remarks on Air- 
 pumps and the Vacua they Produce — The Volumetric Efficiency of Air-pumps — The Volumes 
 of Air which must be Exhausted from a Vessel in order to Reduce its Original Pressure to a 
 ■Certain Lower Pressure — Index. 
 
 Sanitary Plumbing, Electric 
 Wiring, Metal Work, etc. 
 
 EXTERNAL PLUMBING WORK. A Treatise on Lead 
 Work for Roofs. By John W. Hart, R.P.C. 180 Illustrations. 272 
 pp. Demy 8vo. Second Edition Revised. Price 7s. 6d. net. (Post 
 free, 7s. lOd. home ; 8s. abroad.) 
 
 HINTS TO PLUMBERS ON JOINT WIPING, PIPE 
 BENDING AND LEAD BURNING. Third Edition, 
 Revised and Corrected. By John W. Hart, R.P.C. 184 Illustrations. 
 313 pp. Demy 8vo. Price 7s. 6d.net. (Post free, 8s. home; 8s. 6d. 
 abroad.) 
 
 Contents. 
 
 Pipe Bending — Pipe Bending (continued) — Pipe Bending (continued) — Square Pipe 
 Bendings — Half -circular Elbows— Curved Bends on Square Pipe — Bossed Bends — Curved 
 Plinth Bends — Rain-water Shoes on Square Pipe— Curved and Angle Bends — Square Pipe 
 Fixings— Joint-wiping — Substitutes for Wiped Joints — Preparing Wiped Joints — Joint Fixings 
 —Plumbing Irons— Joint Fixings— Use of "Touch" in Soldering — Underhand Joints — Blown 
 and Copper Bit Joints — Branch Joints— Branch Joints (continued) — Block Joints — Block 
 Joints (continued)— Block Fixings— Astragal Joints — Pipe Fixings — Large Branch Joints — 
 Large Underhand Joints — Solders — Autogenous Soldering or Lead Burning — Index. 
 
 SANITARY PLUMBING AND DRAINAGE. By John 
 W. Hart. Demy 8vo. With 208 Illustrations. 250 pp. 1904. Price 
 7s. 6d. net. (Post free, 7s. lOd. home ; 8s. abroad.) 
 
 ELECTRIC WIRING AND PITTING FOR PLUMBERS 
 AND GASFITTERS. By Sydney F.Walker, R.N., M.I.E.E., 
 M.I.Min E., A.M.Inst.C.E., etc., etc. Crown 8vo. 150 pp. With Illus- 
 trations and Tables. Price 5s. net. (Post free, 5s. 3d. home ; 5s. 6d. 
 abroad.) 
 
 Contents. 
 
 Chapter I., Electrical Terms Used.— Pressure and Current— The Volt— Ampere- 
 Electrical Resistance— Earth— Continuous and Alternating Currents — The Electric Circuit — 
 Leakage— Heating of Conductors— Size and Forms of Conductors— The Kilowatt— Loss of 
 Pressure— .Arrangement of C inductors— Looping In— The Three Wire System— Switches— 
 Fuses— Circuit— Breakers. II , The Insulation of Wires, Their Protection Fixing, etc. 
 — Conductors Insulated with Paper and Similar Materials — Sparking between Conductors 
 — Dialite Insulation— Flexible Cords — Concentric Conductors — Twin Conductors — Three-Core 
 Cables — Fireproof Insulation for C( nductors — Jointing — T Joints — Covering T Joints in Vul- 
 canized Rubb^^^r Ca les. III., I i\ing: the Wiring and Cable8.—La^ing Out the Route— The 
 Protection of the Wires and Cables— Wood Casing— Me allic Cunduits— Non-Metallic Con- 
 ductor — Fixing the C nduits and Running Wires in Them— Drawing Wires into Tubes — To 
 Avoid Shock. IV., Lamps.— The Incandescent Lamp— Lamp Holders — Lamp Fittings — The 
 Nernst Lamp. V , Switches, Fuses, Distribution Boards, etc.— The Electricity Meter- 
 Prepayment Meters. 
 
 THE PRINCIPLES AND PRACTICE OP DIPPING 
 BURNISHING, LACQUERING AND BRONZING 
 BRASS WARE. By W. Norman Brown. 35 pp. Crown 
 8vo. Price 2s. net. (Post free, 2s. 3d. home arid abroad.) 
 
28 
 
 A HANDBOOK ON JAPANNING AND ENAMELLING 
 FOR CYCLES, BEDSTEADS, TINWARE, ETC. By 
 
 William Norman Brown. 52 pp. and Illustrations. Crown 8vo. 
 Price 2s. net. (Post free, 2s. 3d. home and abroad.) 
 
 THE PRINCIPLES OF HOT WATER SUPPLY. By 
 
 John W. Hart, R.P.C. With 129 Illustrations. 177 pp., demy 8vo. 
 Price 7s. 6d. net. (Post free, 7s. lOd. home ; 8s. abroad.) 
 
 House Decorating and Painting. 
 
 THREE HUNDRED SHADES AND HOW TO MIX 
 THEM. For Architects, Painters and Decorators. By A. 
 Desaint, Artistic Interior Decorator of Paris. The book contains 100 
 folio Plates, measuring 12 in. by 7 in., each Plate containing specimens 
 of three artistic shades. These shades are all numbered, and their 
 composition and particulars for mixing are fully given at the beginning 
 of the book. Each Plate is interleaved with grease-proof paper, and 
 the volume is very artistically bound in art and linen with the Shield 
 of the Painters' Guild impressed on the cover in gold and silver. Price 
 21s. net. (Post free, 21s. 6d. home ; 22s. 6d. abroad.) 
 
 HOUSE DECORATING AND PAINTING. By W. 
 
 Norman Brown. Eighty-eight Illustrations. 150 pp. Crown 8vo. 
 Price 3s. 6d. net. (Post free, 3s. 9d. home and abroad.) 
 
 A HISTORY OF DECORATIVE ART. By W. Norman 
 Brown. Thirty-nine Illustrations. 96 pp. Crown 8vo. Price Is. net. 
 (Post free. Is. 3d. home and abroad.) 
 
 WORKSHOP WRINKLES for Decorators, Painters, Paper- 
 hangers and Others. ByW. N.Brown. Crown Svo. 128 pp. Second 
 Edition. Price 2s. 6d. net. (Post free, 2s. 9d. home ; 2s. lOd. abroad.) 
 
 Brewing and Botanical. 
 
 HOPS IN THEIR BOTANICAL, AGRICULTURAL 
 AND TECHNICAL ASPECT, AND AS AN ARTICLE 
 OF COMMERCE. By Emmanuel Gross, Professor at 
 the Higher Agricultural College, Tetschen-Liebwerd. Translated 
 from the German. Seventy-eight Illustrations. 340 pp. Demy Svo. 
 Price 10s. 6d. net. (Post free, lis. home; lis. 6d. abroad.) 
 Contents. 
 
 HISTORY OF THE HOP— THE HOP PLANT— Introductory— The Roots— The Stem— 
 and Leaves — Inflorescence and Flower: Inflorescence and Flower of the Male Hop; In- 
 florescence and Flower of the Female Hop — -The Fruit and its Glandular Structure : The 
 Fruit and Seed — Propagation and Selection of the Hop — Varieties of the Hop : {a) Red Hops ; 
 (6) Green Hops ; (c) Pale Green Hops — Classification according to the Period of Ripening : 
 Early August Hops; Medium Early Hops; Late Hops — Injuries to Growth — Leaves Turning 
 Yellow, Summer or Sunbrand, Cones Dropping Off, Honey Dew, Damage from Wind, Hail 
 and Rain ; Vegetable Enemies of the Hop: Animal Enemies of the Hop — -Beneficial Insects on 
 Hops— CULTIVATION— The Requirements of the Hop in Respect of Climate, Soil and 
 Situation: Climate; Soil : Situation — Selection of Variety and Cuttings — Planting a Hop 
 Garden: Drainage; Preparing the Ground; Marking-out for Planting ; Planting; Cultivation 
 and Cropping of the Hop Garden in the First Year — Work to be Performed Annually in the 
 Hop Garden : Working the Ground ; Cutting ; The Non-cutting System ; The Proper Per- 
 formance of the Operation of Cutting: Method of Cutting: Close Cutting, Ordinary Cutting, 
 The Long Cut, The Topping Cut ; Proper Season for Cutting : Autumn Cutting, Spring 
 Cutting; Manuring; Training the Hop Plant: Poled Gardens, Frame Training; Principal 
 Types of Frames : Pruning, Cropping, Topping, and Leaf Stripping the Hop Plant; Picking, 
 Drying and Baggmg — Principal and Subsidiary Utilisation of Hops and Hop Gardens — Life 
 of a Hop Garden ; Subsequent Cropping— Cost of Production, Yield and Selling Prices. 
 
 Preservation and Storage — Physical and Chemical Structure of the Hop Cone— Judging 
 the Value of Hops. 
 
 Statistics of Production — The Hop Trade— Index. 
 
29 
 
 Wood Products, Timber and 
 Wood Waste. 
 
 WOOD PRODUCTS : DISTILLATES AND EXTRACTS. 
 
 By P. DuMESNY, Chemical Engineer, Expert before the Lyons Com- 
 mercial Tribunal, Member of the International Association of Leather 
 Chemists; and J. Noyer. Translated from the French by Donald 
 Grant. Royal 8vo. 320 pp. 103 Illustrations and Numerous Tables- 
 Price 10s. 6d. net. (Post free, lis. home ; Us. 6d. abroad.) 
 Contents. 
 
 Part I., Wood Distillation— Principal Products from the Carbonisation of Wood- 
 Acetates— Secondary Products of the Distillation of Wood— Acetone— Analysis of 
 Raw Materials and Finished Products— Appendix— The Destructive Distillation of Olive 
 Oil Residuals. Part H., Manufacture and Testing of Tan Wood Extracts and their 
 Utilisation in Modern Tanneries— Plant and Equipment for Treating Chestnut Wood 
 
 Analysis of Tanning Substances — The Official Method of the International Association 
 
 of Leather Chemists, with Supplementary Notes. 
 
 TIMBER : A Comprehensive Study of Wood in all its Aspects 
 (Commercial and Botanical), showing the Different Applications and 
 Uses of Timber in Various Trades, etc. Translated from the French 
 of Paul Charpentier. Royal 8vo. 437 pp. 178 Illustrations. Price 
 12s. 6d. net. (Post free, 13s. home ; 14s. abroad.) 
 
 Contents. 
 
 Physical and Chemical Properties of Timber— Composition of the Vegetable Bodies 
 —Chief Elements— M. Fremy's Researches— Elementary Organs of Plants and especially of 
 Forests — Different Parts of Wood Anatomically and Chemically Considered — General Pro- 
 perties of Wood— Description of the Different Kinds of Wood— Principal Essences with 
 Caducous Leaves — Coniferous Resinous Trees— Division of the Useful Varieties of Timber 
 in the Different Countries of the Globe— European Timber— African Timber— Asiatic 
 Timber— American Timber— Timber of Oceania— Forests— General Notes as to Forests ; their 
 Influence — Opinions as to Sylviculture — Improvement of Forests — Unwooding and Revvooding 
 
 Preservation of Forests — Exploitation of Forests — Damage caused to Forests — Different 
 
 Alterations— The Preservation of Timber— Generalities— Causes and Progress of De- 
 terioration — -History of Different Proposed Processes — Dessication — Superficial Carbonisation 
 of Timber— Processes by Immersion— Generalities as to Antiseptics Employed— Injection 
 Processes in Closed Ves.sels— The Boucherie System, Based upon the Displacement of the 
 Sap— Processes for Making Timber Uninflammable— Applications of Timber— Generalities 
 
 Working Timber— Paving — Timber for Mines — Railway Traverses — Accessory Products — 
 
 Gums — Works of M. Fremy — Resins— Barks— Tan— Application of Cork— The Application of 
 Wood to Art and Dyeing — Different Applications of Wood— Hard Wood— Distillation of 
 Wood — Pyroligneous Acid — Oil of Wood— Distillation of Resins— Index. 
 
 THE UTILISATION OF WOOD WASTE. Translated from 
 the German of Ernst Hubbard. Crown Svo. 192 pp. Fifty Illustra- 
 tions. Price 5s. net. (Post free, 5s. 4d. home ; 5s. 6d. abroad.) 
 
 Building and Architecture. 
 
 THE PREVENTION OF DAMPNESS IN BUILDINGS; 
 
 with Remarks on the Causes, Nature and Effects of Saline, Efflores- 
 cences and Dry-rot, for Architects, Builders, Overseers, Plasterers, 
 Painters and House Owners. By Adolf Wilhelm Keim. Translated 
 from the German of the second revised Edition by M. J. Salter, F.I.C, 
 F.C.S. Eight Coloured Plates and Thirteen Illustrations. Crown Svo. 
 115 pp. Price 5s. net. (Post free, 5s. 3d. home; 5s. 4d. abroad.) 
 
 HANDBOOK OF TECHNICAL TERMS USED IN ARCHI- 
 TECTURE AND BUILDING, AND THEIR ALLIED 
 TRADES AND SUBJECTS. By Augustine C. Passmore. 
 Demy Svo. 380 pp. Price 7s. 6d. net. (Post free, 8s. home ; 8s. 6d. 
 abroad.) 
 
30 
 
 The Preserving of Foods and 
 Sweetmeats. 
 
 THE MANUFACTURE OP PRESERVED FOODS AND 
 SWEETMEATS. By A. Hausner. With Twenty-eight 
 Illustrations. Translated from the German of the third enlarged 
 Edition. Crown 8vo. 225 pp. Price 7s. 6d. net. (Post free, 7s. 9d. 
 home; 7s. lOd. abroad.) 
 
 Contents. 
 
 The Manufacture of Conserves— Introduction— The Causes of the Putrefaction of Food 
 — The Chemical Composition of Foods— The Products of Decomposition— The Causes of Fer- 
 mentation and Putrefaction— Preservative Bodies— The Various Methods of Preserving Food 
 — The Preservation of Animal Food— Preserving Meat by Means of Ice — The Preservation 
 of Meat by Charcoal— Preservation of Meat by Drying— The Preservation of Meat by the 
 Exclusion of Air— The Appert Method— Preserving Flesh by Smoking— Quick Smoking— Pre- 
 serving Meat with Salt— Quick Salting by Air Pressure— Quick Salting by Liquid Pressure— 
 Gamgee's Method of Preserving Meat— The Preservation of Eggs — Preservation of White 
 and Yolk of Egg— Milk Preservation— Condensed Milk— The Preservation of Fat— Manu- 
 facture of Soup Tablets— Meat Biscuits— Extract of Beef— The Preservation of Vegetable 
 Foods in General— Compressing Vegetables— Preservation of Vegetables by Appert's Method 
 — The Preservation of Fruit— Preservation of Fruit by Storage — The Preservation of Fruit 
 by Drying— Drying Fruit by Artificial Heat— Roasting Fruit— The Preservation of Fruit with 
 Sugar— Boiled Preserved Fruit— The Preservation of Fruit in Spirit, Acetic Acid or Glycerine 
 —Preservation of Fruit without Boiling— Jam Manufacture— The Manufacture of Fruit 
 Jellies — The Making of Gelatine Jellies— The Manufacture of "Sulzen"— The Preservation of 
 Fermented Beverages— The Manufacture of Candies— Introduction— The Manufacture of 
 
 •Candied Fruit— The Manufacture of Boiled Sugar and Caramel— The Candying of Fruit 
 
 Caramelised Fruit— The Manufacture of Sugar Sticks, or Barley Sugar— Bonbon Making- 
 Fruit Drops— The Manufacture of Dragees— The Machinery and Appliances used in Candy 
 Manufacture— Dyeing Candies and Bonbons— Essential Oils used in Candy Making— Fruit 
 Essences — The Manufacture of Filled Bonbons, Liqueur Bonbons and Stamped Lozenges— 
 Recipes for Jams and Jellies — Recipes for Bonbon Making — Dragdes — Appendix— Index." 
 
 RECIPES FOR THE PRESERVING OF FRUIT, VEGE- 
 TABLES AND MEAT. By E. Wagner. Translated 
 from the German. Crown 8vo. 125 pp. With 14 Illustrations. Price 
 5s. net. (Post free, 5s. 3d. home ; 5s. 4d. abroad.) 
 
 Contents. 
 
 Part I, Preserved Fruits.— Green Almonds— Gooseberries— Strawberries— Currants- 
 Cherries— Black Nuts— White Nuts— Apricots— Greengages— Pears— Peaches— Plums— Figs 
 
 Melons— Apples— Chestnuts— Angelica— Pineapple. Canned Fruit.— Gooseberries— Cherries 
 —Apricots— Plums— Rhubarb. Giazed and Candied Fruits.— Glazing Fruit Candied 
 Fruit— Blue Plums— Glazed Chestnuts— Glazed Pineapple Slices— Crystallised Strawberries 
 Marmalades, Jams and Fruit Juices.— Strawberry Marmalade— Cherry Marmaia e— 
 Jams— Fruit Jellies— Raspberry Juice— Cherry Juice -Lemon Syrup— Pineapple Juice. Fruit 
 Pulp for Ices. Citron Peel and Orange Feel. Part II. Preserved Vegetables.— 
 Asparagus— Peas— Beans— Carrots— Spinach— Artichokes— Tomatoes— Mixed Vegetables- 
 Tinned Julienne— Celery— Mushrooms— Truffles — Pickled Gherkins— Gherkins in Mustard- 
 Mixed Pickles. Part III. Preserved Meats. -Veal Cutlets— Fricondeau of Veal— Calves 
 Head— Bouillon Meat— Ox Tongue— Beef a la Mode— Roast Hare— Roast Venison— Mutton 
 and Cabbage — Sa voury Haste — Beef Paste — Poie Oras Paste. 
 
 Dyeing Fancy Goods. 
 
 THE ART OF DYEING AND STAINING MARBLE 
 ARTIFICIAL STONE, BONE, HORN, IVORY AND 
 WOOD, AND OF IMITATING ALL SORTS OP 
 WOOD. A Practical Handbook for the Use of Joiners, 
 Turners, Manufacturers of Fancy Goods, Stick and Umbrella Makers, 
 Comb Makers, etc. Translated from the German of D. H. Soxhlet, 
 Technical Chemist. Crown 8vo. 168 pp. Price 5s. net. (Post free', 
 5s. 3d. home ; 5s. 4d. abroad.) 
 
 i 
 
31 
 
 Celluloid. 
 
 CELLULOID : Its Raw Material, Manufacture, Properties and', 
 Uses. A Handbook for Manufacturers ol Celluloid and Celluloid 
 Articles, and all Industries using Celluloid j also for Dentists and 
 Teeth Specialists. By Dr. Fr. Bockmann, Technical Chemist. Trans- 
 lated from the Third Revised German Edition. Crown 8vo. 120 pp. 
 With 49 Illustrations. Price 5s. net. (Post free, 5s. 3d. home ; 5s. 4d. 
 abroad.) 
 
 Contents. 
 
 Chapters I., Raw Materials for the Manufacture of Celluloid : Cellulose and Pyroxylin 
 — Gun-cotton— Properties of Gun-cotton— Special Gun-cottons for Celluloid Manufacture — 
 Nitrating Centrifugalisers— Collodion Wool— Methods of Preparinj- Collodion Wool— Cam- 
 phor — Japanese (Formosa) Camphor, O dinary Camphor — Borneo Camphor (Borneol), 
 Sumatra Camphor, Camphol, Baros Camphor)— Properties of Camphor— Artificial Camphor 
 —Camphor Substitutes. 11„ The Manufacture of Celluloid; Manufacturing Camphor by 
 the Aid of Heat and Pressure— Manufacture of Celluloid by Dissolving Gun-cotton in an 
 Alcoholic Solution of Camphor— Preparing Celluloid by the Cold Process— Preparation with 
 an Ethereal Solution of Camphor— Preparation with a Solution of Camphor and Wood 
 Spirit. III., The Employment of Pyroxylin for Artificial Silk : Denitrating 
 and Colouring Pyroxylm — Uninflammable Celluloid — Celluloid and Cork Composition- 
 Incombustible Celluloid Substitute — Xylonite or Fibrolithoid. IV., Properties of 
 Celluloid, v., Testing Celluloid. VI., Application and Treatment of Celluloid : 
 
 Caoutchouc Industry — Making Celluloid Ornaments — Working by the Cold Process 
 
 Working by the Warm Process— Celluloid Combs— Celluloid as a Basis for Artificial 
 Teeth — Stained Celluloid Sheets as a Substitute for Glass — Celluloid Printing Blocks 
 and Stamps— Collapsible Seamless Vessels of Celluloid- Making Celluloid Balls— Celluloid 
 Posters— Pressing Hollow Celluloid Articles— Casting Celluloid Articles— Method for Pro- 
 ducing Designs on Plates or Sheets of Celluloid, Xylonite, etc.— Imitation Tortoiseshell— 
 Metallic Incrustations— Imitation Florentine Mosa ic— Celluloid Collars and Cuffs- Phono- 
 graph Cylinder Composition— .Making Umbrella and Stick Handles of Celluloid — Celluloid 
 
 Dolls— Celluloid for Ships' Bottoms— Celluloid Pens— Colouring Finished Celluloid Articles 
 
 Printing on Celluloid— Employment of Celluloid (and Pyroxylin) in Lacquer Varnishes— Index. 
 
 Lithography, Printing and 
 Engraving. 
 
 PRACTICAL LITHOGRAPHY. By Alfred Seymour. 
 Demy 8vo. With Frontispiece and 33 Illus. 120 pp. Price 5s.. 
 net. (Post free, 5s. 4d. home ; 5s. 6d. abroad.) 
 
 Contents. 
 
 stones— Transfer Inks— Transfer Papers— Transfer Printing— Litho Press— Press Work— 
 Machme Pnnting— Colour Printing— Substitutes for Lithographic Stones— Tin Plate Printing 
 and Decoration— Photo-Lithography. 
 
 PRINTERS' AND STATIONERS' READY RECKONER 
 AND COMPENDIUM. Compiled by Victor Graham. 
 Crown 8vo. 112 pp. 1904. Price 3s. 6d. net. (Post free, 3s. 9d. home : 
 3s. lOd. abroad.) 
 
 Contents. 
 
 Price of Paper per Sheet, Quire, Ream and Lb.— Cost of 100 to 1000 Sheets at various 
 Sizes and Prices per Ream— Cost of Cards— Quantity Table— Sizes and Weights of Paper, 
 Cards, etc.— Notes on Account Books— Discount Tables— Sizes of spaces — Leads to a lb.— 
 Dictionary — Measure for Bookwork— Correcting Proofs, etc. 
 
 ENGRAVING FOR ILLUSTRATION. HISTORICAL 
 AND PRACTICAL NOTES. By J. Kirkbride. 72 pp. 
 Two Plates and 6 Illustrations. Crown 8vo. Price 2s. 6d. net. (Post 
 free, 2s. 9d. home ; 2s. lOd. abroad.) 
 
 Bookbinding. 
 
 PRACTICAL BOOKBINDING. By Paul Adam. Translated 
 from the German. Crown Svo. 180 pp. 127 Illustrations. Price 5s 
 net. (Post free, 5s. 4d. home ; 5s. 6d. abroad.) 
 
32 
 
 Sugar Refining. 
 
 THE TECHNOLOGY OF SUGAR: Practical Treatise on 
 the Modern Methods of Manufacture of Sugar from the Sugar Cane and 
 Sugar Beet. By John Geddes McIntosh. Second Revised and 
 Enlarged Edition. Demy 8vo. Fully Illustrated. 436 pp. Seventy-six 
 Tables. 1906. Price 10s. 6d. net. (Post free, lis. home ; lis. 6d. 
 abroad.) 
 
 Contents. 
 
 Chemistry of Sucrose, Lactose, Maltose, Glucose, Invert Sugar, etc. — Purchase and 
 Analysis of Beets — Treatment of Beets — Diffusion — Filtration— Concentration — Evaporation — 
 Sugar Cane : Cultivation— Milling— Diffusion— Sugar Refining— Analysis of Raw Sugars- 
 Chemistry of Molasses, etc. 
 
 (See "Evaporating, Condensing, etc., Apparatus," p. 26.) 
 
 Bibliography. 
 
 CLASSIFIED GUIDE TO TECHNICAL AND COM- 
 MERCIAL BOOKS. Compiled by Edgar Greenwood. 
 Demy 8vo. 224 pp. 1904. Being a Subject-Ust of the Principal 
 British and American Books in print ; giving Title, Author, Size, Date, 
 Publisher and Price. Price 7s. 6d. net. (Post free, 7s. lOd. home ; 
 8s. 3d. abroad.) 
 
 HANDBOOK TO THE TECHNICAL AND ART 
 SCHOOLS AND COLLEGES OF THE UNITED 
 KINGDOM. Containing particulars of nearly 1,000 Techni- 
 cal, Commercial and Art Schools throughout the United Kingdom, 
 including Municipal Schools ; Polytechnics ; Schools of Art, Science 
 and Technology ; Colleges of Music and Elocution ; Agricultural, 
 Dairy Farming, Veterinary and Pharmacy Colleges ; Domestic 
 Economy, Cookery and Evening Classes; and Itinerant Technical 
 Classes. With full particulars of the courses of instruction, names of 
 principals, secretaries, etc. Demy 8vo. 150 pp. Price 3s. 6d. net. 
 (Post free, 3s. lOd. home ; 4s. abroad.) 
 
 THE PLUMBING, HEATING AND LIGHTING 
 ANNUAL: The Trade Reference Book for PI umbers, 
 Sanitary, Heating and Lighting Engineers, Builders' Merchants, Con- 
 tractors and Architects. Bound in cloth and gilt lettered. Price 
 2s. net. (Post free, 2s. 4d. home; 2s. 8d. abroad.) 
 
 SCOTT, GREENWOOD & SON, 
 
 ^Tecbnical JBooft aiiD ^TraDe journal ipublisbcrs, 
 8 Broadway, Ludgate Hill, 
 London, E.G. 
 
 telegraphic Rddress, " Printerles, London ". • Telephone, Bank 5403. 
 
 [yanuary, 1909.